Zainab Khuwaja: an American-Muslim with a vision

“I feel that by adapting and practicing my art I have not only been able to expand my skills as an artist but also been able to gain a better understanding of the concepts of my faith, societal beliefs, and extremism of politics in the world.”

Zainab Khuwaja might be young but the Houston-based artist has a clear vision for future—using her art to reflect her own identity as an American-Muslim. “Through my style and form of art I believe I have been able portray a greater appreciation of Islamic art and Arabic calligraphy from a historical as well as a modern aspect,” she explains.

In her work, Zainab takes inspiration from Arabic Calligraphy and Islamic art and architecture, such as the historical mosques of Turkey, Spain, and Cairo. She uses traditional elements in her work like ceramic tiles, mirror and glass––materials that were used in the architecture and décor in the Fatimid era as well as in the time periods of Mughal and Ottoman Dynasties. “Developing a unique pattern and style which is uncommon within the art world is a success in its own way,” notes the proud artist.

Her style does manage to set her pieces apart. Take for instance her breathtaking olive Faiths Girdle piece on canvas that draws you in toward a single focal point with the word “Allah” in the center, encircled by colored mirror pieces or Luminous Glow which almost sails afloat the name of the Creator in a fiery orange. Dragon’s Eye is a slightly different but bolder piece that is done in a haunting palette—the bright reds and the eager greens combined with the subtle blues to soften the overall effect. The elements in that composition show a budding artist wanting to break forth and establish her mark on the art world.

Dragons Eye
Acrylic on Canvas








Faiths Girdle
Glass and Mirror work on Canvas










Luminous Glow
Acrylic on Canvas









Zainab’s creative journey began at the age of three, when she first started dabbling with watercolor and pottery. Over the years, that passion continued but she found herself also getting very interested in politics and law. Zainab, who is currently pursuing a bachelor’s degree in political science and art from Houston Baptist University, is inspired by some of Houston’s most renowned artists such as Michael Collins and Virgil Grotfield. “At school, I am the only artist generating Middle Eastern concepts and designs of calligraphy in general within the art department,” says Zainab. “By viewing my work, some of my fellow student artists and professors have been able to develop a better understanding and appreciation for Muslim art and architecture in general.”

Zainab’s art has been acquired by many private collections. “I do hope in the near future to showcase my work on greater spectrum,” says the hopeful young artist and we wish her the very best in her journey.

Links to the artist
Contact link to purchase: Galerie.Khuwaja@gmail.com
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Mirza: Mysticism On Canvas

Joyful and vibrant color blends mixed in with a spoonful of surrealism and a dash of fantasy. When these manifest on Mirza’s canvas, they carry a powerful mystical tune—the notes unforgettable and ever lasting. It is as if the artist invited three guests in his midst—intuition, intellect, and emotion and painted with them.

Our understanding of twentieth-century art form is based on traditions brought forth by Cézanne and other Cubists. Visionaries such as Mirza, Fred Varley, Emily Carr, and Lawren Harris defy the norm. Mystically-realized art cannot be judged on the existing trends, rather you need different sort of lenses to understand the depth and complexity of mystical poetry on canvas. In mystical art, the artist achieves a meditative state of mind and then projects images and archetypes from the spiritual muse within. What these artists share is developing their work by calling on a higher level of consciousness, one that guides the strokes when the hand is moving on the canvas. Dancing figures, reflective women, musicians, dervish, birds—in a trice, leap off Mirza’s canvas and acquire a haunting and mysterious allure. His brush strokes and use of colors depict his sensitivity and mood, whether he is painting the serenity of the Buddha, the resurrection of the Christ or dancing women under a moonlight. Although he caution against seeing his pieces individually.

“Each piece of art is a component of the totality of expression of my personal philosophy. My body of work has to be looked at as a whole.”
–Mirza

Thirty years ago, Mirza was a new immigrant to the United States, and an evolving artist. Over the years as the events and places in his life changed, so did Mirza’s style as he internalized some of the Western and European styles and forms. He defines his work as a synthesis, drawing on the best of both to create something that reflects his own station in life. “I work with the mystical area of human existence,” says Mirza, “which in my opinion, is in between the real and the unseen world.”

In addition to canvas and paper he makes an extensive use of other mediums such as wood, glass, ceramic and metal for his work. “I choose whatever medium that best expresses my works and my thoughts,” he explains.


Two Sisters
Acrylic on Paper










Folk Culture of Pakistan
Oil on Canvas







World in Chaos
Oil on Canvas







A Little Girl in the Balcony
Acrylic on Canvas








His proudest moment came in the form of a four-day exhibition of his work in August of 2006 at the Pakistan Consulate in Washington. The exhibition was inaugurated by Ambassador Mahmud Ali Durrani. During his speech, the ambassador praised Mirza's natural flair for blending bold themes in dynamic colors. The event also brought his work out in front of the broader Pakistani-American community in Washington as well as numerous U.S. government officials, providing them a glimpse of the splendor of the Pakistani culture. “The exhibition reflects Mirza’s eastern background and sensitivity,” Gulgee commented, a personal friend and supporter, who has reviewed Mirza’s work on many occasions.

The event was initiated by the Consul General of Pakistan in Houston, G.R. Baluch who describes Mirza as a great unsung painter of our times and an accomplished world artist. He happened to see some of Mirza’s art at a friend’s place. So impressed was he by Mirza’s work, that he proposed to have an exhibition of his paintings at the Pakistan Consulate in Washington. Prior to that, in February of 2004, Mirza was invited to the Texas State Capitol by Rick Perry, the governor of Texas, to showcase some of his work. Mirza also had a high profile exhibition in March of 2006 at the Pakistan Consulate in Houston.

(This article, written by Shaila Abdullah, first appeared in The Ismaili USA)

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Salma Arastu: born with faith and art in her heart

Salma Arastu has been painting for thirty some years. Born into Sindhi and Hindu tradition in India, she later embraced Islam through her marriage. She has traveled extensively and lived in various countries--India, Iran, Kuwait, UK, Germany and finally the US, where she moved in 1987. In her work, she tries to bring together Eastern spirituality and western techniques of painting, learned over the years.

Three elements are strong influences in her work: Folk art, miniature art and Arabic calligraphy, all adopted along her journeys. Seeing the unity of an all-encompassing God, she was able to transcend barriers often set forth in the traditions of religion, culture and the cultural perceptions of handicaps--she was born with no fingers on her left hand.

Her personal triumphs have been defined and shaped by the simple principle of faith in the divine power, the compelling force which has guided her life and work. As both a Hindu and Muslim woman, a multi-cultural artist, and a mother, she sees unique opportunity in creating harmony and world transformation through the expression of the universe in her art.

The Works

Sufi series I
Mixed media on canvas
36 x 24











Sharing Light
Mixed Media on Canvas
38 x 48









The Homeless I
Mixed media on board
38 x 48

Conversation with the artist

What is the inspiration behind your work?

Well, I cannot deny the influence of Paul Klee, Miro and Picasso from Europe, M.F. Husain and Amrita Shergil from India. I liked the human figure and I admired what these artists had done with them. I wanted to break the traditions and create something new with the figures which would convey my feelings of love, peace, unity, sharing and celebration of life. I have worked hard for several years to achieve this, and I think today I have successfully developed my own interpretation and form. My story begins with a lyrical line and this same lyrical line allows me to design Arabic calligraphy or draw abstract images of crowds of people with same facility. My inspiration is my faith and it keeps me motivated to do more and more. Painting is a way of worship for me.

Tell us about your journey? How did you become an artist? Did you receive any formal training?

Art is my need; a need to express and reach out. From my childhood days, I felt that I had something important to say and I used to doodle a lot. I have been painting for more than thirty years. I earned my degrees in Fine Arts from the College of Fine Arts and Architecture, Jawaharlal University, Hyderabad in 1971 and later in 1974 from the MS University in Baroda, India. I have traveled extensively--from India to Iran to Kuwait to UK, Germany and to the US. And last year, I moved from Bethlehem, Pennsylvania to the East Bay. I have lived for long periods with amazing people and fascinating communities. Folk art, miniature art and Arabic calligraphy are three strong influences on my art, adopted along my journeys.

Describe your style? What medium do you work in?

I am creating a body of work of through a continuous, lyrical line to express joy in the universal spirit that unites humanity. This lyrical line has been my guide over the blank surface of the canvas. With years of practice, it has become freer and more energetic. It has allowed me to create calligraphic designs or a flow of humanity with same facility. I want to spread God’s love by bringing all people together with this single line of positive energy. I have created several pieces that show unity and celebration together. In my art, people are not given any identity and thus represent the entirety of humanity without differences. I recreate these visions which show people in celebrations, visiting neighbors, family reunions, celebration of life, glow of unity and hope of the new earth. I am inspired by Arabic calligraphy and Persian and Mughal miniature arts but my work is very contemporary. I mix both the worlds-Eastern spirituality and Western techniques effortlessly and the results are very original and colorful and lyrical. I paint, sculpt and I am also a print maker. My paintings are varied in sizes and range is from 60”/90” to 20”/20” and I work on paper, board or canvas.

Technically, my work is evolving, and I keep exploring new materials and mediums to convey my expressions. I often use paper, fiber, molding paste etc. to create textured surfaces on which I paint with thin layers of acrylic paints or glazes. Recently, I have started using copper figures on these textured surfaces which give a unique glow to my compositions. I often add fine details with pen & ink as if embroidering them and thus finally bringing the piece together.

What would you consider your biggest success as an artist?

Alhamdulillah I am grateful and here are some achievements listed by the media:

1. I have had more than 40 exhibitions of her work in India, the USA and Europe.
2. Many of my works are in private and public collections --- like the Salar Jung Museum in Hyderabad, the museum of Modern Art, New Delhi, the Harrisburg Art Museum,the Allentown Art Museum and the Pensylvania Power and Light Company.
1. In 2008, the Alameda County commissioned mefor three paintings which are now in the Collection of the County of Alameda.
2. In December 2008, my new book of art and poems in English was published by Half Full Press from Oakland California in their series of Emerging American Artists program. The book is titled The Lyrical Line and has more than 100 images of her works from last 10 years. My paintings celebrate life. In this art book I have tried to trace with lines and color a trajectory of the human emotions that all of us feel no matter where we are from and what our individual situations are.
3. In the summer of 2002, I won a six-week Artist-in-Residence Award. I lived and worked in Swabisch Gumund, in southern Germany where I was hosted by a German family and exhibited my work as a goodwill ambassador for the sister city, Bethlehem, Pennsylvania.
4. I received first place in painting at North Eastern Regional art show at Marywood University, Scranton, Pennsylvania.
5. I have also authored several published works of free verse and short stories in my native Hindi language. My collection of poems, Dard Ki Seedhiyan (Exploring Steps in the realm of Pain) was published in 1981 with a grant from Andhra Pradesh Sahitya Kala (Literary Arts) Academy, Hyderabad, India.
6. Shortly after arriving in the US, I founded Your True Greetings, a successful greeting card company that uses my paintings and calligraphy to serve the needs of Muslim communities in the US, Canada, Japan and the United Kingdom.

How has your work been received by the world and what is next for you?

I am grateful to God as I get very good feedback from my art patrons. They find my work joyful and peaceful. My greatest pleasure is when people find the same message from my paintings that I try to convey. I am attempting to create a world through my art work in which the magic of communion plays a central role. My subjects include people, who do everything together. They initiate each other, they celebrate together, they grieve together, they pray together. In this global world, it is important that we understand each other, accept each other with our differences, and emerge as one human community for the success of humanity.

Links to the artist
Artist's Website
Upcoming exhibits

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Your True Greetings
Purchase The Lyrical Line by Salma Arastu

Suhas Tavkar and NakhaChitra: The Art of Fingernail Embossing

Suhas Tavkar of Bellerose, New York uses an unlikely tool to create his most intricate and unique embossed masterpieces–his fingernails, using a technique called NakhaChitra, an ancient art form.

Nakha means fingernail and Chitra means art in Sanskrit. Suhas embosses on paper or soft metal using his imagination, disciplined concentration, and precise hand-eye coordination. One wrong move and it’s back to the drawing board. There are no second chances. “It's a demanding technique,” says Suhas. “If a line or impression fails to satisfy me, it can't be undone."

Fortunately for him, each piece of bas relief artwork that Suhas finishes is an instant masterpiece––from the face of Radha, a challenging relief on Strathmore paper to the menacing profile of a bald eagle; to the single line drawing of the contours of a father and son to the provocatively entwined figures of the Pilobilus Dancers. Suhas’s venture into Islamic calligraphy in recent years has received a phenomenal response. His unique art form allows him to intricately carve the letters in Arabic that appear as gloriously decorative patterns on his reliefs. He believes that art is universal and he is open to all religions in his exploration of likely subjects. “My art shows the unique relationship between the human form and the human touch that created it,” he says.

Suhas, who hails from Gujarat in India, is a third generation artist in his family working in NakhaChitra. He recalls being introduced to the technique at the age of four and being fascinated with it. A keen observer of nature and its majesty, Suhas always pictured the universe to be a gallery of the creator. He sees everyone as an artist in their own capacity.

Islamic calligraphy
Embossed on paper
















Ajanta Cave Panel
Embossed on paper










Pilobilus Dancers
Embossed on two-ply Strathmore paper
















Suhas believes that humans practiced etching on the soft wooden bark of trees or banana and lotus leaves with their fingernails. “The art of fingernail etching may have started a long time ago and fingernail relief drawing may have started when humans started making paper,” he states. “It seems that this has really become a lost art form.”

And Suhas is determined to revive that art form and give it its due place in the art scene. Since graduating from the J.J. School of Arts in India, and immigrating to the U.S. in 1977, Suhas lost touch with his art and focused more on his career as a graphic artist. When he retired in 2007, he decided to dedicate the rest of his life to NakhaChitra, a move he deeply cherishes. Recognition started pouring in soon after. His work has been exhibited at New York State Ballet Gallery, Museum of Natural History, Donnell Center, Tabla Rasa Gallery, Brownson Art Gallery, Chelsea gallery, Hammond Museum, and Queens Museum. In 2008 Suhas received the Curators’ Choice Award. That same year he was invited to participate in Indo-American Art Council's exhibit called Erasing Borders that explores the contributions of artists whose origins can be traced to the Indian Subcontinent.

You may take away tools of other artists and render them unable to create. Not Suhas, he carries his tools wherever he goes. "With these God-given natural tools that are literally at one's own fingertips,” says Suhas, “I believe that every living creature on planet Earth is an artist and also a wonderful piece of art.”

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Mumtaz Hussain

Mumtaz Hussain's recent paintings continue the artist's engagement with language and history. The relationship of hieroglyphs and ancient sculpture in his recent series The Soul of Civilization contrasts with the calligraphic Modern Mystic series that invoked the Islamic tradition of poetry as visual expression; the new paintings are an attempt to make direct pictorial statements. Born and educated in Jhang, Hussain's early artistic education was inspired by the medieval Indian figurative artistic tradition. In 1981, he accepted admission into the prestigious National College of Arts (NCA) in Lahore. Upon graduation, Hussain was commissioned to construct a seventy-foot mural in Lahore's town center and to decorate the Sheikh Zaid bin Sultan Palace, an architectural landmark in Karachi. In 1988, he left for New York to pursue graphic design at the School of Visual Art. Hussain continues to paint prolifically, and his artworks have been feature regularly at the LRBT art auction in New York, consistently fetching the highest bids.

The Works

Solitude, Series 3: Intimate Conjunction (Oil, acrylics and silver foil on canvas)

Infinity (Oil, acrylics and silver foil on canvas)

The Path (Oil, acrylics and silver foil on canvas)

Conversation with the Artist

What is the inspiration behind your work?
The source of inspiration always changes for me. I am moved by beauty regardless of what form it comes in––female, film, book, or poetry. When something touches my heart and have a great impact on me, than I tend to express myself sometimes on canvas, sometime on films and at times even with my pen.

Tell us about your journey? How did you become an artist? Did you receive any formal training?
My creative journey started from early childhood when I often spent time painting, drawing, making portraits of my friends and even film stars. I learned calligraphy from a neighborhood board painter. Because of family pressure, I studied pre-engineering for a short while but that didn't work out. It was then that I decided to have formal art training from National College of Arts in Pakistan. Then, I studied in London and worked as a painter in Paris. Eventually, I moved to New York to study graphic design and enrolled in the School Of Visual Arts. I worked as an art director for accounts like Calvin Klein, Polo Ralph Lauren, and Simon and Schuster and have a studio in New York. I am still running on the path of art, making my living from painting, films, and writing stories.

Describe your style? What medium do you work in?
I paint classic South Asian art in a post modern style, and use calligraphy as a visual expression. I use mixed media oil acrylic with silver foil on canvas.

What would you consider your biggest success as an artist?
The fact that my admirers include many universities and museums who give me the opportunity to showcase my work to the broader society.

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To buy the artwork of Mumtaz Hussain, please call 917 855 6434.