Contemporary Pakistani Printmakers

The Festival of Muslim Cultures - Sarah Hopkins 2

Talking Prints - Salima Hashami 3

Fatima Saeed 4

Laila Rahman 6

Afshar Malik 8

Anwar Saeed 10

Muhammad Atif Khan 12

Imran Ahmad 14

Naiza Khan Contemporary 16

Naazish Ata-Ullah Pakistani 18

Sameera Khan Printmakers 20

Samina Iqbal 22

Zaira Ahmad 24

Ali Raza 26

Swansea Print Workshop 28

Talking Prints - Salima Hashami - Welsh 30

Talking Prints - Salima Hashami - Urdu 31

Tour Dates and Acknowledgments 32

Outside cover - Naiza Khan ‘Her hair - Mirror image’ 2/3 2002 (w88.5cm x h62cm) Inside cover - Atif Khan ‘The Moon and the Darkness 1’ hand painted intaglio 1997 (w48cm x h43cm) The Festival of Muslim Cultures Gˆwyl Diwylliannau Moslemaidd

The Festival of Muslim Culture is a year-long celebration Mae’r Wylˆ Diwylliannau Moslemaidd yn ddathliad of arts, humanities, education and discourse that seeks blwyddyn gron o’r celfyddydau, y dyniaethau, addysg ac to foster an improved understanding and appreciation ymddiddanion sy’n ceisio meithrin gwell dealltwriaeth a for Muslim culture. Major events and exhibitions have gwerthfawrogiad o’r diwylliant Moslemaidd. Trefnwyd been organised across the United Kingdom in which digwyddiadau ac arddangosfeydd pwysig ar draws y moderate Muslim voices can be heard, and negative Deyrnas Unedig er mwyn clywed lleisiau cymedrol stereotypes challenged. The project was conceived in Moslemaidd a herio stereoteipio negyddol. Crëwyd y 2002 and its patron appointed, HRH Prince of Wales. syniad yn 2002 a phenodwyd y noddwr, sef Ei Fawrhydi A vast programme of events has been developing since Tywysog Cymru. Mae rhaglen enfawr o ddigwyddiadau then, inspired by the belief that the arts can play a role wedi’i datblygu ers hynny, wedi’i hysbrydoli gan y gred in changing society for the better by enabling people to bod gan y celfyddydau rôl wrth newid cymdeithas er enter into the experiences of others. gwell drwy alluogi pobl i fynd i mewn i brofiadau pobl eraill. Under the Festival banner, Swansea Print Workshop has established a powerful and unique partnership with Dan faner yr Wyl,ˆ mae Gweithdy Printio Abertawe wedi printmakers from , who have been invited to sefydlu partneriaeth gref ac unigryw gyda gwneuthurwyr share their work with communities across the country. printiau ym Mhacistan, a wahoddwyd i rannu eu gwaith Alongside this, we have organised a dynamic gyda chymunedau ar draws y wlad. Ochr yn ochr â hyn, programme of activities, which will introduce new rydym wedi trefnu rhaglen fywiog o weithgareddau, a cultural dimensions into the lives of young people, their fydd yn cyflwyno dimensiynau diwylliannol newydd i teachers, community groups and professional artists in fywydau pobl ifanc, eu hathrawon, grwpiau cymunedol South Wales, thus having a profound and lasting ac arlunwyr proffesiynol yn Ne Cymru, a thrwy hynny, yn impact on those involved. cael dylanwad dwfn a pharhaol ar y rheiny sy’n cymryd rhan.

Sarah Hopkins Project Manager Sarah Hopkins Rheolwr Prosiect

2 www.festivalofmuslimcultures.org Talking Prints

Contemporary printmaking in Pakistan presents a The diversity in processes and passions of these young pattern of dormant stretches punctuated by vibrant artists inspired yet another generation to probe deeper blossomings. The chronic lack of printmaking facilities, into visual legacies and contentious juxtapositionings. underscored by sporadic patronage and laconic public The tumult in Pakistani socio-political life has provided a interest, leaves it to the dedicated individual practitioner sometimes subtle, sometimes strident, backdrop for to nurture and nudge printmaking towards its creative these artistic journeys. Consecutive oppressive political potential. While the history of printmaking in Pakistan regimes instigated a vocal women’s movement in the originates in the nineteenth century with the arts, alongside a surprising revival of the Moghul establishment of a studio at the Mayo School of Arts in miniature, both of which encouraged a reverence for , its rejuvenation is barely two decades old. tradition together with a desire to subvert its nostalgia. The Mayo School was the venue for the first lithography Painters and printmakers like Ali Raza, Quddus Mirza, and relief printing facility which undertook public Akram Dost, Shahzia Sikandar, Bani Abidi, Atif Khan, commissions under the watchful guidance of its Nazia Khan and Samina Iqbal in Lahore found parallel founding Principal, Lockwood Kipling, sculptor and practitioners in , where until then Mehr Afroz father of Rudyard Kipling. had trod a lonely path. Naiza Khan was immediately welcomed as a printmaker of promise on her arrival Among the many artists connected to the Mayo School from Britain. Her work fused many strands of mark of Arts were Abdur Rahman Chughtai and Anwar Jalal making in , print and drawing. The centrality of Shemza. Chughtai was steeped in a predilection for the her themes to do with feminity, sexuality and physicality Muslim heritage in ornament and his etchings and echoes the works of other printmakers at the Indus aquatints complemented his highly stylized wash Valley School of Art and Architecture and National . He was much admired but found few College of Arts. Young artists continue to struggle with followers. A.J. Shemza, on the other hand, armed with the complexities of medium and message in a society a fresh visual language acquired as a student at the that is in a state of flux. Among them are Sameera Slade School of Fine Arts in the late 50’s, bridged the Khan, Fatima Saeed, Zaira Ahmed and Imran Ahmed, ‘yearning for the past’ with the imperatives of the who like other printmakers address layered realities with present. A devotee of Paul Klee, Shemza explored links creative tenacity. between Klee’s hieroglyphic notations and the elegant linearities of his own calligraphic tradition. Pakistani Printmakers are now venturing into the multiplicities offered by digital technology with aplomb, But this was distant from printmaking activity in the rest while simultaneously sifting through competing issues of Pakistan, which had settled into a long hibernation. of identities, histories and relevance. Not that Pakistani artists did not delve into the discipline now and again. Artists were exploring a Salima Hashami variety of processes both inside Pakistan and abroad. Among them were Naz Ikramullah, Nahid Azfar, Shahid Sajjad, Ahmed Khan, Zahoorul Akhlaq, Mehr Afroze Professor is an artist who has exhibited and Mansoora Hassan. However, the institutional widely in Pakistan and internationally. She is both a framework needed for the propagation of practice was curator and writer who has published extensively on art either missing, or woefully inadequate. in Pakistan. Among her major publications is "Unveiling the visible: lives and works of women artists in It was not until 1985 that printmaking was energized Pakistan." Professor Hashmi was co-founder of ‘Rohtas and a new phase initiated at the National College of 2’ in Lahore and founding member of the Women’s Arts, formerly the Mayo School. Naazish Ataullah, Action Forum in Pakistan. She retired from National Anwar Saeed returned after their post graduate studies College of Arts in Lahore, Pakistan, as professor of Fine at the Slade and the Royal College of Art in London to Art in 2000. She is currently Dean of School of Visual take up teaching positions. They were helped by Arts at Beaconhouse National University in Lahore. printmakers Bartolomeu Dos Santos and Peter Daglish, who joined them, strengthening the pedagogy by conducting workshops and initiating research into local materials. Afshar Malik and Jamal Shah joined the growing number of printmakers who returned after their training also from the Slade. The special relationship between the two schools flourished as the group expanded with Sabina Gillani and Laila Rehman, both having benefited from the M.A programme at the Slade. All returned to Pakistan to share their expertise with students and gallery audiences.

3 Fatima Saeed

Fatima Saeed gained a Bachelor of Arts and Enillodd Fatima Saeed radd Baglor yn y Celfyddydau specialised in Printmaking at the National College of gan arbenigo mewn Printio yn y Coleg Celf Arts in Lahore. She also studied Miniature Painting, Cenedlaethol yn Lahore. Astudiodd hefyd Baentio Photography and Ceramics, which inform her teaching Mân-ddarluniau, Ffotograffeg a Cherameg, sy’n at the Fine Art Department at cyfoethogi ei gwaith dysgu yn Adran Celfyddyd Gain y and also the Oriental College of Arts in Lahore. Fatima Coleg Celf Cenedlaethol a hefyd y Coleg Celf Dwyreiniol Saeed has exhibited throughout Pakistan, in USA, yn Lahore. Mae Fatima Saeed wedi arddangos ei gwaith Finland, and Germany. ledled Pacistan, yn UDA, y Ffindir a’r Almaen.

I was brought up in a family of artists. Their influence Fe’m magwyd mewn teulu o artistiaid. Roedd eu ranged from painting to designing space, from eastern dylanwad yn amrywio o baentio i ddylunio gofod, o classical music to clay pottery - the inclination came gerddoriaeth glasurol ddwyreiniol i grochenwaith clai - naturally to me. Now, as a professional practicing artist, daeth y tueddfryd yn naturiol i mi. Bellach fel arlunydd I feel blessed for the constant encouragement in those proffesiynol wrth ei gwaith, rwy’n ei theimlo’n fraint fy early years, which fueled my interests and resulted in mod i wedi derbyn anogaeth gyson yn ystod y my career development through Art education. blynyddoedd cynnar hynny, a fwydai fy niddordebau ac a Being a fine art graduate and taking up printmaking as arweiniodd at ddatblygu fy ngyrfa drwy addysg yn y a specialist subject was a result of my fascination with Celfyddydau. Mae bod yn raddedig yn y celfyddydau cain the technical aspects of this discipline. The freedom ac arbenigo mewn printio yn ganlyniad i’m ddiddordeb and room for experimentation that one experiences dwfn yn agweddau technegol y ddisgyblaeth hon. whilst developing an image present physical and Mae’r rhyddid a’r lle i arbrofi a brofir wrth ddatblygu intellectual challenges that have been so rewarding for delwedd yn cyflwyno heriau corfforol a meddyliol a roes me to encounter. fodlonrwydd mawr i mi.

I have been actively involved with the issues concerning Rwyf wedi bod yn ymwneud yn ymarferol â materion sy’n identity, whether it is my own face that I am working gysylltiedig â hunaniaeth, p’un ai fy wyneb fy hun neu with or tracing a historical perspective through old olrhain y persbectif hanesyddol drwy hen luniau’r teulu. family photographs. Coming to terms with the changes Wrth geisio ymdopi â’r newidiadau a ddaw i’n rhan that one faces in life, I try to simplify complex issues mewn bywyd, rwy’n ceisio symleiddio materion cymhleth through layers and create transparency. Text and drwy haenau a chreu tryloywder. Mae testun a stampiau, stamps, on the other hand, remain a constant element ar y llaw arall, yn parhau’n elfen gyson yn fy ngwaith. in my work.

4 Readible Marks A/P 2005 (w41.5cm x h49cm) 5 Laila Rahman

Born in Lahore in 1966, Laila Rahman attended Wedi’i geni yn Lahore ym 1966, mynychodd Laila St Martins College of Art and Design and later with a Rahman Goleg Celf a Dylunio St Martins ac yn scholarship from the British Council in Pakistan ddiweddarach gydag ysgoloriaeth o’r Cyngor Prydeinig achieved a First Class Masters Degree in Printmaking ym Mhacistan, enillodd radd Dosbarth Cyntaf mewn from Slade School of Fine Art in London. She is Printio yn Ysgol Gelfyddyd Gain y Slade yn Llundain. currently a tutor at Lahore College of Arts and Sciences Ar hyn o bryd mae’n diwtor yng Ngholeg Celf a and is working towards a series of Illustrations and Gwyddoniaeth Lahore ac yn gweithio ar gyfres o designs for the book "Punjabi and Other Folk Tales" for ddarluniadau a dyluniadau ar gyfer y llyfr "Punjabi and Simorgh Publications, Lahore. She has exhibited her Other Folk Tales" i Simorgh Publications, Lahore. Mae work in group exhibitions across Pakistan, India, USA wedi arddangos ei gwaith mewn arddangosfeydd grwp ˆ and Europe. ledled Pacistan, India, UDA ac Ewrop.

Approaching Chaos and the unbound forces of Nature Mae’r Chwalfa sydd ar fin dod a grymoedd dilyffethair are ranged in opposition to human beings. Our world, Natur wedi ymrestru mewn gwrthwynebiad i’r outwardly symmetrical, is symbolized by two perfect ddynoliaeth. Mae ein byd, sy’n allanol gymesur, yn cael ei shapes: the ‘magic square’ and the ‘enchanted circle’ symboleiddio gan ddau siâp perffaith: mae’r ‘sgwâr hud’ are undergoing a change; once entered or meddled a’r ‘cylch hudol’ yn newid; wrth fynd i mewn iddynt neu with, unforeseen changes will occur. Insidious and ymyrryd â hwy, mae newidiadau annisgwyl yn digwydd. therefore more frightening is that the organic natural Yn llechwraidd ac felly’n fwy dychrynllyd, mae’r ffurfiau forms encroach steadily and will soon consume the naturiol yn graddol dresmasu a chyn bo hir byddant yn human shapes, which by contrast are powerless and ysu’r siapiau dynol yn llwyr, sydd, mewn weak. gwrthgyferbyniad yn ddi-rym a gwan.

Boundaries have been breached and nothing will ever Mae’r terfynau wedi’u chwalu ac ni fydd dim yr un fath be the same again - an apocalyptic future awaits us. eto – mae dyfodol apocalyptaidd yn ein haros.

The disc of the moon continually casts its spell on the Mae wyneb y lleuad yn taflu’i hud yn barhaus dros y scenes around it. It is essentially female in nature and golygfeydd o’i chwmpas. Mae’n fenywaidd yn ei hanfod form. It sits as a fitting counterpart on its male a’i ffurf. Mae’n eistedd fel cymhares weddus i’w companion, the square. This balance is what evades us chydymaith gwryw, y sgwâr. Dyma’r cydbwysedd na today. The human shapes are deliberately androgynous fedrwn ei ddal heddiw. Mae’r siapiau dynol yn fwriadol in structure, with no individual markings or features left androgynaidd o ran strwythur, heb nodau na to them. Above all they are supine, doomed to their nodweddion iddynt bellach. Uwchlaw popeth, maent yn fate ddiymadferth, wedi’u tynghedu i’w ffawd.

6 A Sacrament Marred A/P 1993 (w39cm x h79.5cm) 7 Afshar Malik

Afshar Malik was born in Bahawalpur, Punjab in 1955. Ganed Afshar Malik yn Bahawalpur, Pwnjab ym 1955. His career as a printmaker began after he graduated Dechreuodd ei yrfa fel gwneuthurwr printiau wedi iddo with a degree in Fine Art from National College of Arts raddio yn y Celfyddydau Cain o’r Coleg Celf in Lahore and further studies in Fine Art at Slade Cenedlaethol yn Lahore ac astudiaethau pellach yn y School in London. He went on to lecture in Celfyddydau Cain yn Ysgol Slade yn Llundain. Aeth yn printmaking, drawing and painting at National College ei flaen i ddarlithio mewn printio, lluniadu a phaentio yn of Arts and regularly exhibits in one-man and group y Coleg Celf Cenedlaethol ac mae’n arddangos ei waith shows across Asia. yn rheolaidd fel unigolyn ac mewn sioeau gr ˆwp ledled Asia. By gathering my internal powers I gain the strength to fly above the world and discover a concept that is rich. Drwy grynhoi fy mhwerau mewnol rwy’n cael y nerth i Secure up in my own space I can allow this idea to hedfan uwchben y byd a darganfod cysyniad sy’n grow. Slowly the making process takes over. gyfoethog. Yn ddiogel yn fy ngofod fy hun gallaf ganiatáu i’r syniad hwn dyfu. Yn araf bach, daw’r broses He walks into a space, takes off what he wears, takes wneud i reoli. on rags, smells of turps, inhales fumes and gasses, rolls inks on cold glass palettes. With a thought in Mae e’n cerdded i ofod arbennig, yn diosg yr hyn mae’n process; mixed with sounds and voices in a working ei wisgo, yn gwisgo carpiau amdano, yn drewi o ‘tyrps’, space, he begins. yn mewnanadlu mygdarthau a nwyon, yn rholio inc ar baletau gwydr oer. A syniad yn ei ben; yn gymysg â seiniau a lleisiau mewn gofod gwaith, mae’n dechrau.

8 ‘Two together and three inches more’ A/P 2005 (w44.5cm x h45cm) 9 Anwar Saeed

Anwar Saeed was born Lahore in 1955. He graduated Ganed Anwar Saeed yn Lahore ym 1955. Graddiodd o’r from National College of Arts in Lahore in 1978 and Coleg Celf Cenedlaethol yn Lahore ym 1978 a spent one year at Royal College of Art in London where threuliodd flwyddyn yn y Coleg Celf Brenhinol yn he completed his post graduate studies. He has Llundain lle cwblhaodd ei astudiaethau ôl-raddedig. exhibited widely across Pakistan and has participated in Mae wedi arddangos yn helaeth ledled Pacistan ac wedi group shows in USA, Australia, Norway, Zimbabwe, bod yn rhan o arddangosfeydd gr ˆwp yn UDA, Awstralia, Egypt, Jordan and India. He is currently teaching at Norwy, Zimbabwe, yr Aifft, Iorddonen ac India. Ar hyn o National College of Arts, Lahore, as Associate bryd mae’n dysgu yn y Coleg Celf Cenedlaethol yn Professor since 1986. Lahore, fel Athro Cysylltiol er 1986.

Living in a close knit society where everything affects Wrth fyw mewn cymdeithas glos iawn lle mae popeth yn everything else according to its old conventional value effeithio ar bopeth arall yn ôl ei hen system werthoedd system, one realises that this system has hardly gonfensiynol ei hun, mae person yn sylweddoli nad oes anything to do with human nature and its needs. If we gan y system hon fawr ddim i’w wneud â’r natur ddynol try to look into its bases, we can only find feudal values a’i hanghenion. Os ceisiwn fynd i’r afael â’i seiliau, down like honour and pride which are directly related to ar draws werthoedd ffiwdal fel anrhydedd a balchder sy’n shame and guilt. Not only in rural areas but equally in ymwneud yn uniongyrchol â chywilydd ac euogrwydd. cities, it is a common thing to see a news item in media Nid yn unig yn yr ardaloedd gwledig ond hefyd yn y that a brother has killed his sister together with a young dinasoedd, mae’n gyffredin gweld eitem newyddion yn y man with whom he suspected that his sister was cyfryngau sy’n sôn am frawd yn lladd ei chwaer ynghyd having a love affair - killing to overcome a wounded â dyn ifanc yr oedd y brawd yn amau ei fod yn caru honor, - and we can see that people are forced to do â’i chwaer – lladd i oresgyn anrhydedd a glwyfwyd – such things because of shame and guilt which are a gwelwn fod pobl yn cael eu gorfodi i wneud y fath linked to taboos associated with religion and sexuality. bethau oherwydd y cywilydd a’r euogrwydd sydd ynghlwm wrth y tabws ˆ sy’n gysylltiedig â chrefydd a I see these as burdens - invisible burdens, - honour, rhywioldeb. shame and guilt, religion and nationality, sexuality and emotions are huge burdens. If desires and wishes are Gwelaf y rhain fel beichiau – beichiau anweledig - mae burdens then fate is another burden. anrhydedd, cywilydd ac euogrwydd, crefydd a chenedligrwydd, rhywioldeb ac emosiynau yn feichiau enfawr. Os yw dyheadau a dymuniadau yn feichiau yna mae ffawd hefyd yn faich arall.

10 Tender Burdens 2 A/P 2004 (w34cm x h60cm) 11 Muhammad Atif Khan

Born in Sahiwal, Pakistan in 1972, Atif Khan graduated Wedi’i eni yn Sahiwal, Pacistan ym 1972, graddiodd in Fine Art from the National College of Arts in Lahore. Atif Khan mewn Celfyddyd Gain o’r coleg Celf In 1999 he was awarded the UNESCO-ASHBURG Cenedlaethol yn Lahore. Ym 1999 dyfarnwyd Bursary and completed a residency at Darat-al-Funun bwrsariaeth UNESCO-ASHBURG iddo a chwblhaodd in Amman, Jordan. Following his success there and his gyfnod preswyl yn Darat-al-Funun yn Amman, reputation as a highly qualified teacher and printmaker Iorddonen. Yn dilyn ei lwyddiant yno a’i enw da fel at National College of Arts in Lahore, Atif Khan was athro a gwneuthurwr printiau o safon uchel yn y Coleg appointed as artist in residence at Swansea Print Celf yn Lahore, penodwyd Atif Khan fel artist preswyl Workshop from November 2005 for three months. yng Ngweithdy Printio Abertawe o fis Tachwedd 2005 He has exhibited throughout Asia and in USA, Finland, am dri mis. Mae wedi arddangos ledled Asia ac yn UDA, Germany and Poland. His work features in collections in y Ffindir, yr Almaen a Gwlad Pwyl. Mae ei waith i’w the Bradford Museum, U.K., in Darat-al-Funun, weld yn Amgueddfa Bradford, y D.U., yn Darat-al-Funun, Amman, Jordan and the Arab Bank, and the Amman, Iorddonen a’r Banc Arabaidd, a Phalas yr Presidency in . Arlywydd yn Islamabad.

One aspect of today’s Pakistani culture is that we are Un agwedd ar ddiwylliant Pacistan heddiw yw bod surrounded by images. This abundance of images is delweddau ymhob man o’n cwmpas. Mae’r ormodaeth something unprecedented in history. People are hon o ddelweddau yn rhywbeth cwbl newydd yn hanes controlled by images without being aware of it, as ein gwlad. Caiff pobl eu rheoli gan ddelweddau a hynny’n images are the most powerful tools of persuasion in the ddiarwybod, gan mai delweddau yw un o’r ffyrdd mwyaf consumerist era. I cannot ignore the strong presence of pwerus o berswadio yn y cyfnod prynwriaethol. Ni fedraf these images around us, so I am using these popular anwybyddu presenoldeb grymus y delweddau hyn o’n images as the tool of my expression. cwmpas, felly rwy’n defnyddio’r delweddau poblogaidd hyn fel cyfrwng i’m mynegiant. Traditional Moghal miniature-paintings and popular images from the everyday life are my sources of Ffynonellau fy ysbrydoliaeth yw mân-ddarluniau inspiration. By juxtaposing images from these diverse traddodiadol Moghal a delweddau poblogaidd o fywyd sources, I try to subvert their original contextual pob dydd. Drwy gyfosod y delweddau hyn o ffynonellau meanings and give new meanings and insights into tra gwahanol, ceisiaf guddio’u hystyron cyd-destunol contemporary Pakistani life and its social and political gwreiddiol a rhoi ystyron a golwg newydd ar fywyd issues. Pacistan gyfoes a’i phroblemau cymdeithasol a gwleidyddol.

12 Something in my words 2/4 1997 (w27.5cm x h46.5cm) 13 Imran Ahmad

A Fine Art graduate from National College of Arts in Ac yntau’n raddedig yn y Celfyddydau Cain o’r Coleg Lahore, Imran Ahmad has exhibited his work in USA, Celf Cenedlaethol yn Lahore, mae Imran Ahmad wedi Germany and Pakistan and is held in private collections. arddangos ei waith yn UDA, yr Almaen a Phacistan ac He has taught printmaking to students on a variety of mae ei waith hefyd mewn casgliadau preifat. Mae wedi levels and is currently the Managing Director of a addysgu printio i fyfyrwyr ar lefelau gwahanol ac ar hyn commercial printing company in Lahore. o bryd mae’n Rheolwr Gyfarwyddwr cwmni printio masnachol yn Lahore. My initial fascination with time and space provides a vehicle for combining the varied character traits in my Mae fy niddordeb dwfn mewn amser a gofodau yn work reflecting my personality, my past experiences and darparu cyfrwng i gyfuno’r nodweddion amrywiol yn fy fond memories. Dots, lines and tones are vigorously ngwaith sy’n adlewyrchu fy mhersonoliaeth, fy scratched into the metal plate to construct images from mhrofiadau yn y gorffennol ac atgofion hoff. Mae dotiau the conscious and the sub-conscious. The pleasure of a llinellau ac arlliwiau’n cael eu hysgythru i’r plât metel i mark-making with visceral strength and energy leaves lunio delweddau o’r ymwybod a’r isymwybod. Mae’r me with abstractions, narrating long stories with only a pleser o farcio gydag angerdd ac egni yn gadael stroke, and at the same time a small word illustrated haniaethau, yn adrodd storïau hir gyda thrawiad yn unig, with thousands of lines through the technique of dry ac ar yr un pryd yn darlunio gair bach â miloedd o point. linellau drwy dechneg sychbwynt.

My latter work, executed in lithographs and line Mae fy ngwaith diweddar, mewn lithograff ac etchings, carry the same energy but are distilled into ysgythriadau llinell, yn mynegi’r un egni ond maent more symbolic motifs. These symbols are the wedi’u distyllu’n fotiffau mwy symbolaidd. Mae’r expression of recurring memories of being away from symbolau hyn yn fynegiant o atgofion o fod oddi cartref home and loved ones. ac i ffwrdd oddi wrth anwyliaid, sy’n ailymddangos.

14 Plate on a Plate A/P 2001 (w80cm x h60.5cm) 15 Naiza Khan

Her body in three parts 5/8 2005 (w77cm x h39.5cm)

16 Nazia Khan attended Ruskin School of Drawing and Mynychodd Nazia Khan Ysgol Lluniadu a Chelfyddydau Fine Art in Oxford and gained a BA in Fine Art in 1990. Cain Ruskin yn Rhydychen ac enillodd radd BA yn y She returned to Pakistan and took the position of Head Celfyddydau Cain ym 1990. Dychwelodd i Bacistan a of Painting at the Indus Valley School of Art and daeth yn Bennaeth Paentio yn Ysgol Celf a Architecture in Karachi. She is a founder member of the Phensaernïaeth yr Indws yn Karachi. Mae’n aelod working group ‘Vasl International Artists,’ a network sefydlol o’r gr ˆwp gweithio ‘Vasl International Artists,’ initiative based in the UK. She has exhibited throughout menter rwydwaith wedi’i seilio yn y DU. Mae wedi Asia, USA, Australia and Europe. arddangos ledled Asia, UDA, Awstralia ac Ewrop.

In my work over the last few years I have been Yn fy ngwaith dros y blynyddoedd diwethaf rwy wedi bod exploring the ambiguous and complex relationship yn archwilio’r berthynas annelwig a chymhleth rhwng y between the female body and female identity and corff benywaidd a hunaniaeth fenywaidd a gwrthrychedd female subjectivity determined by the discourse of benywaidd fel a bennir gan drafodaethau patriarchaeth. patriarchy. Mae’r hyn sydd wedi esblygu wedi datblygu’n ymwneud â What evolved has grown into a concern with a number llawer o ddefnyddiau traddodiadol ac anhraddodiadol, of traditional and non-traditional materials, like silk megis organsa sidan, sy’n cael ei ddefnyddio yn y organza, which is used in the prints. printiau.

I often step back, or rather forced to step back, and Rwy’n aml yn camu’n ôl neu’n hytrach yn cael fy begin to see how I am struggling to create an ngorfodi i gamu’n ôl, ac yn dechrau gweld sut rwy’n autonomous feminine subjectivity which is pertinent to ymdrechu i greu gwrthrychedd benywaidd annibynnol my own personal realities. sy’n berthnasol i’m realiti personol fy hun.

What is becoming visible is my need to articulate how Yr hyn sy’n dod i’r amlwg yw’r angen am i mi fynegi sut the body is marked by femininity as a lived experience, mae’r corff wedi’i nodi gan fenyweidd-dra fel profiad go where subjectivity is produced through new narratives. iawn, lle cynhyrchir gwrthrychedd drwy naratifau newydd.

What I see in retrospect are questions raised about Yr hyn rwy’n ei weld wrth edrych yn ôl yw cwestiynau representational strategies of the Self as Other and as sy’n codi ynghylch strategaethau cynrychioliadol yr body, the boundaries between them are fluid and Hunan fel Arall ac fel corff, mae’r ffiniau rhyngddynt yn unstable. gyfnewidiol ac yn ansefydlog.

17 Naazish Ata-Ullah

Naazish Ata-Ullah was born in Australia in 1950. Ganed Naazish Ata-Ullah yn Awstralia ym 1950. Associate Professor and Head of Printmaking in the A hithau’n Athro Cysylltiol a Phennaeth Printio yn Adran Department of Fine Art, National College of Arts in Gelfyddyd Gain y Coleg Celf Cenedlaethol yn Lahore, ac Lahore, and a graduate of studies in Printmaking at yn un o raddedigion Gwneud Printiau Ysgol Slade School of Fine Art in London, Nazzish Ata-Ullah Celfyddydau Cain y Slade yn Llundain, mae profiad has extensive printmaking experience. She has helaeth o wneud printiau ganddi. Mae wedi arddangos exhibited across Pakistan, India, UK and Scandinavia yn helaeth ledled Pacistan, y DU a Sgandinafia ac wedi and has advised and prepared papers for International cynghori a pharatoi papurau ar gyfer sefydliadau organisations. rhyngwladol.

The concern with the body has always been central to Mae ymwneud â’r corff wedi bod yn ganolog i’m gwaith my work. In the past I have approached the female erioed. Yn y gorffennol, rwy wedi ymdrin â’r corff dynol body in several different ways: metaphorically, mewn sawl ffordd wahanol; yn drosiadol, yn representationally, sexually and politically. Draped in a gynrychioliadol, yn rhywiol ac yn wleidyddol. Wedi’i wisgo chaddar or hidden within the folds of a burqa - the mewn ‘chaddar’ neu ei guddio ym mhlygiadau’r ‘burqa’ – body has been deliberately concealed to heighten the mae’r corff wedi’i guddio’n fwriadol i ddwysáu’r dienw a’r dilemma of the anonymous and the silenced. distawedig.

Currently I am looking at the ageing body. The work is Ar hyn o bryd rwy’n ystyried y corff sy’n heneiddio. still in progress and I can only share some initial Mae’r gwaith yn mynd yn ei flaen o hyd ac ni fedraf ond concerns. I want to juxtapose parts of the body with rhannu rhai pryderon cychwynnol. Rwy am gyfosod personal items such as spectacles or false teeth. rhannau’r corff gydag eitemau personol megis sbectol These mundane items perform very specific and neu ddannedd gosod. Mae gan yr eitemau cyffredin hyn essential requirements over the passage of time as one swyddogaeth hanfodol a phenodol iawn dros amser wrth becomes increasingly dependent on them. Hence their i ni fynd yn fwyfwy dibynnol arnynt. Felly ychwanegir at importance is enhanced along with the vulnerability and eu pwysigrwydd ynghyd ag elfen ddiamddiffyn ac discomfort of the body. anghysur y corff. Mae’r gwaith yn oddrychol ac yn bersonol ond mae iddo berthnasedd oesol. Disodlir The work is subjective and personal but also has coegfalchder hunanymwybodol ieuenctid gan gorff sy’n universal relevance. The self-conscious vanity of youth fwy grymusol ond yn hˆyn. Mae’r trawsnewid yn amlwg. is replaced by a more empowered but older body. The transition is transparent.

18 The Transparency of Time 1 1/20 2004 (w44cm x h50cm) 19 Sameera Khan

Sameera Khan is from Hunza, in the North of Pakistan Daw Sameera Khan o Hunza, yng ngogledd Pacistan a and the first female artist to have had the opportunity to hi yw’r arlunydd benywaidd cyntaf i gael y cyfle i ddilyn undertake a formal art education in Fine Arts from addysg celf ffurfiol yn y Celfyddydau Cain yn y Coleg National College of Arts in Lahore. She gained a first Celf Cenedlaethol yn Lahore. Enillodd radd dosbarth class degree and was awarded a bursary from the Aga cyntaf, a dyfarnwyd bwrsariaeth iddi gan Sefydliad yr Khan Foundation to travel to Sheffield Hallam University Aga Khan i deithio i Brifysgol Sheffield Hallam yn y DU i in UK to enrol on a Masters course in Print Media Fine ddilyn cwrs Meistr yng Nghyfryngau Printio y Arts. She was fortunate also to receive print studio Celfyddydau Cain. Bu’n ddigon ffodus hefyd i dderbyn management training at London Print Studio and as a hyfforddiant rheoli stiwdio brintio yn Stiwdio Brintio result of this was appointed Print Studio Manager for Llundain ac o ganlyniad i hynny fe’i penodwyd yn Swansea Print Workshop in 2004. Part of her role at Rheolwraig Gweithdy Printio Abertawe yn 2004. Rhan the Workshop is to conduct advanced printmaking o’i gwaith yn y Gweithdy yw cynnal dosbarthiadau classes and coordinate support programmes for artists. printio uwch a chydlynu rhaglenni cefnogi i arlunwyr. She is also a part-time lecturer at Gorseinon College in Mae hefyd yn ddarlithydd rhan-amser yng Ngholeg Swansea. Sameera Khan has participated in exhibitions Gorseinon yn Abertawe. Mae Sameera Khan wedi nationally and internationally. cyfranogi mewn arddangosfeydd yn genedlaethol ac yn rhyngwladol. My work attempts to look at themes that revolve around personal narratives based on ever changing Mae fy ngwaith yn ceisio edrych ar themâu sy’n elements taken from every day life and questions ymwneud â naratifau personol sydd wedi’u seilio ar yr relating to space, place and identity. elfennau cyfnewidiol ym mywyd pob dydd a chwestiynau sy’n ymwneud â gofod, lle a hunaniaeth. During the creative process, I consciously incorporate autobiographical elements through text and narratives. Yn ystod y broses greadigol, rwy’n ymgorffori’n gwbl y work also reflects the oral tradition of Pakistan and ymwybodol elfennau bywgraffyddol drwy destun a has a strong story telling nature, derived from every day naratifau. Mae fy ngwaith hefyd yn adlewyrchu life, routines and dilemmas. The notion of using a direct traddodiad llafar Pacistan sy’n cynnwys nodweddion approach and combining text with imagery creates a adrodd stori cryf iawn, sy’n deillio o fywyd, arferion a mysterious interaction between fiction and reality. chyfyng gyngor pob dydd. Mae’r syniad o ddefnyddio ymagwedd uniongyrchol a chyfuno testun â delweddau As a printmaker I try to explore different methods of yn creu rhyngweithio dirgel rhwng ffuglen a realiti. printmaking and incorporate prints into different media and installations. Fel gwneuthurwr printiau, rwy’n ceisio archwilio dulliau gwahanol o wneud printiau ac yn ymgorffori printiau mewn cyfryngau a gosodiadau gwahanol. 20 “Thakti” in Limbo 2005 (w64cm x h64cm) 21 Samina Iqbal

Samina Iqbal gained a Masters Degree in Printmaking Enillodd Samina Iqbal radd Meistr mewn Gwneud from University of Minnesota, Minneapolis, USA after Printiau o Brifysgol Minnesota, Minneapolis, UDA ar ôl majoring in Printmaking at National College of Arts in arbenigo mewn Printio yn y Coleg Celf Cenedlaethol yn Lahore. She has exhibited in both North America and Lahore. Mae wedi arddangos ei gwaith yng Ngogledd Pakistan and is currently teaching in the Department of America a Phacistan ac ar hyn o bryd mae’n dysgu yn yr Art, Appalachian State University, North Carolina. Adran Gelf, Prifysgol Daleithiol Appalachia, Gogledd Carolina. My recent series of prints is based on the idea of a home and homemaker. My everyday chores generate Mae fy nghyfres ddiweddar o brintiau wedi’u seilio ar y my imagery. Being a workingwoman, mother and artist, syniad o gartref a gwneud cartref. Fy nyletswyddau I find myself struggling to balance my roles and this is beunyddiol sy’n cynhyrchu fy nelweddau. Gan fy mod yn what my imagery communicates. fenyw sy’n gweithio, yn fam ac yn arlunydd, rwy’n cael fy hun yn brwydro i gydbwyso fy rolau a dyma’r hyn y mae My daily routine at home includes cooking, cleaning, fy nelweddau yn ei gyfleu. washing of dishes etc. When I am in my studio I cannot escape the thoughts of my undone jobs left at home Mae trefn fy niwrnod gartref yn cynnwys coginio, and while I am at home I cannot resist thinking about glanhau, golchi llestri etc. Pan wyf yn fy stiwdio fedra i my artwork: thus my work bridges home and studio. ddim dianc rhag meddwl am y gorchwylion sydd heb eu gorffen gartref, a phan wyf gartref fedra i ddim peidio â I use myself as a character type for the role of meddwl am fy ngwaith celf: felly mae fy ngwaith yn workingwomen. I see my everyday chores as rituals. pontio fy nghartref a’r stiwdio. The use of circular elements in my work represents the notion of repetition of day to day routine. For me, Rwy’n defnyddio fy hun fel cymeriad nodweddiadol o making art is an outlet of my daily routine. I see my wragedd sy’n gweithio. Gwelaf fy ngorchwylion pob dydd artwork as a driving force that eliminates the boredom fel defodau. Mae defnyddio elfennau cylchol yn fy of my every day responsibilities. ngwaith yn cynrychioli’r syniad o ailadrodd y drefn o ddydd i ddydd. I mi mae creu gwaith celf yn ollyngdod rhag y drefn feunyddiol. Gwelaf fy ngwaith celf fel y grym sy’n gyrru’r diflastod ymaith o’m cyfrifoldebau beunyddiol.

22 Stress Pattern A/P 2005 (w42.5cm x h42cm) 23 Zaira Ahmad

Zaira Ahmad was born in 1974. She studied BA Fine Ganed Zaira Ahmad ym 1974. Astudiodd gwrs BA Arts at National College of Arts, Lahore and has Celfyddydau Cain yn y Coleg Celf Cenedlaethol, Lahore exhibited across Pakistan, the United Arab Emirate and ac mae wedi arddangos ei gwaith ledled Pacistan, yr North America. Zaira Ahmad regularly conducts Emiradau Arabaidd Unedig a Gogledd America. Mae printmaking workshops for a variety of organisations Zaira Ahmad yn cynnal gweithdai printio yn rheolaidd i and has lectured at the Hunerkada Academy of Visual lawer o sefydliadau ac mae wedi darlithio yn Academi and Performing Arts in Islamabad. Celfyddydau Gweledol a Pherfformio Hunerkada yn Islamabad. Through my work, I depict the varied situations through which I’m passing. I show the different phases of Yn fy ngwaith rwy’n darlunio’r sefyllfaoedd amrywiol yr others lives, as well as my own life. I work around the wyf yn eu profi. Rwy’n dangos cyfnodau gwahanol passage of time ‘before, during and after’ certain life bywydau eraill yn ogystal â’m bywyd fy hun. Rwy’n events, as there is peace after every storm. These gweithio o gwmpas hynt amser, ‘cyn, yn ystod ac wedi’ extreme contrasts and transitions are reflected in my digwyddiadau bywyd penodol, gan fod tawelwch wedi prints. Through them I also try to catch specific life pob storm. Adlewyrchir y gwrthgyferbyniadau a’r changing moments. newidiadau eithafol hyn yn fy mhrintiau. Drwyddynt hefyd rwy’n ceisio cipio digwyddiadau penodol sy’n newid My current work is related to the misery of certain bywyd. human beings all around the world, whose lives are affected by natural and man-made disasters. I have Mae fy ngwaith presennol yn ymwneud â dioddefaint rhai tried to show my sorrow and share their pain through aelodau o’r ddynoliaeth ledled y byd, yr effeithir ar eu my work. bywydau gan drychinebau naturiol ac o wneuthuriad dyn. Rwy wedi ceisio dangos fy ngofid a rhannu eu poen drwy fy ngwaith.

24 Way Worn 2 13/22 2005 (w35cm x h48cm) 25 Ali Raza

Ali Raza was born in Lahore in 1969. He has settled Ganed Ali Raza yn Lahore ym 1969. Mae wedi with his family in North Carolina, USA where he works ymgartrefu gyda’i deulu yng Ngogledd Carolina, UDA lle as Assistant Professor in Painting and Drawing at mae’n gweithio fel Athro Cynorthwyol mewn Paentio a University of Minnesota. Ali Raza regularly curates Lluniadu ym Mhrifysgol Minnesota. Mae Ali Raza yn exhibitions and his paintings and prints have been curadu arddangosfeydd yn rheolaidd ac mae ei widely exhibited across Asia and USA. baentiadau a’i brintiau wedi’u harddangos yn eang ar draws Asia ac UDA. My work evolves from the interaction of diverse themes. I see it as a fusion of concepts varying from subjective Mae fy ngwaith yn datblygu o themâu amrywiol iawn histories to quotidian references. For example, I sy’n rhyngweithio. Fe’i gwelaf fel ymdoddiad o appropriate and rework images and ideas from art gysyniadau sy’n amrywio o hanesion goddrychol i history, different types of magazines, free shopping gyfeiriadau beunyddiol. Er enghraifft, rwy’n cymryd guides, images and travel. During my image making meddiant o ddelweddau a syniadau ac yn eu hailweithio process, I use memory and imagination, with reasoning o hanes celfyddyd, cylchgronau gwahanol, llawlyfrau and intuition. My images are subjective: Who am I? - siopa am ddim, delweddau a theithio. Yn ystod y broses o What do I know? - What are my defined roles and their greu’r delweddau, rwy’n defnyddio’r cof a’r dychymyg, interactions within society? This accumulation of diverse ynghyd ag ymresymu a greddf. Mae fy nelweddau’n ideas in the form of related/ unrelated charged images oddrychol. Pwy ydw i? – Beth ydw i’n ei wybod? – Beth is my way of comparing and presenting wide-ranging yw fy rolau penodol a sut maent yn rhyngweithio mewn issues and concepts to produce a thought provoking cymdeithas? Y crynhoad hwn o syniadau amrywiol iawn image. I want to see my imagery as a potential code ar ffurf delweddau grymus cysylltiedig/digyswllt yw’r that can carry multiple interpretations, rather than a ffordd yr ydw i’n cymharu ac yn cyflwyno materion a single meaning. chysyniadau eang i gynhyrchu delwedd sy’n ysgogi’r meddwl. Rwy am weld fy nelweddiaeth fel côd posib a all gynnwys dehongliadau lluosog yn hytrach nag un ystyr yn unig.

26 ‘The Route of the Koh-i-noor’ 2/2 1999 (w47cm x h31cm) 27 28 Swansea Print Workshop Gweithdy Printio Abertawe

Swansea Print Workshop was set up in 1998 by a Sefydlwyd Gweithdy Printio Abertawe ym 1998 gan group of artists/printmakers based in Swansea to grwp ˆ o arlunwyr/wneuthurwyr printiau wedi’u lleoli yn promote drawing and printmaking practices and to Abertawe er mwyn hyrwyddo arfer lluniadu a gwneud provide facilities and equipment to support these printiau a darparu cyfleusterau a chyfarpar i gefnogi’r activities. It is now an established centre of Fine Art gweithgareddau hyn. Mae’r gweithdy bellach yn printmaking and a unique community resource within ganolfan sefydledig ar gyfer printio Celfyddyd Gain ac south-west Wales. It provides a professional workshop yn adnodd cymunedol unigryw yn ne-orllewin Cymru. context in which beginners can work alongside Mae’n darparu cyd-destun gweithdy printio proffesiynol professional artists. Its aim is to encourage and support lle gall dechreuwyr weithio wrth ochr arlunwyr those wishing to make careers in the field of Fine Art proffesiynol. Ei amcan yw annog a chefnogi’r rheiny sy’n printmaking, whether as practitioners, technicians or dymuno gwneud gyrfa ym maes printio Celfyddyd Gain, administrators. p’un ai fel ymarferwyr, technegwyr neu weinyddwyr.

29 Printiau Llafar

Mae hanes printio cyfoes ym Mhacistan fel patrwm o Ysbrydolodd amrywiaeth prosesau a brwdfrydedd gyfnodau tawel gydag ysbeidiau o flodeuo bywiog. eithriadol yr arlunwyr ifanc hyn genhedlaeth arall i Oherwydd y diffyg affwysol o gyfleusterau printio, a archwilio’n ddyfnach i etifeddiaethau gweledol a hynny wedi’i ddwysáu gan nawdd ysbeidiol a diddordeb chyfosodiadau. Mae cynnwrf bywyd cymdeithasol- byrhoedlog y cyhoedd, yr ymarferydd ymroddedig wleidyddol Pacistan wedi darparu cefndir sydd unigol yn unig all feithrin a llywio printio i gyfeiriad weithiau’n gynnil, weithiau’n groch i’r pererindodau creadigol. Tra bod hanes printio ym Mhacistan yn artistig hyn. Ysgogodd llywodraethau gormesol olynol dechrau yn y bedwaredd ganrif ar bymtheg gyda fudiad gwragedd huawdl yn y celfyddydau ynghyd ag sefydlu stiwdio yn Ysgol Gelfyddydau Mayo yn Lahore, adfywiad syfrdanol o fân-ddarlunio Moghul, a’r ddau’n prin ugain mlwydd oed yw’r adfywiad diweddar. hybu parch at draddodiad ynghyd ag awydd i ddymchwel ei elfen hiraethus. Ysgol Mayo oedd lleoliad y cyfleuster lithograff a phrintio cerfwedd cyntaf a ymgymerodd â chomisiynau Darganfu arlunwyr a gwneuthurwr printiau yn Lahore fel cyhoeddus dan arweiniad gofalus y Prifathro sefydlol, Ali Raza, Quddus Mirza, Akram Dost, Shahzia Sikandar, Lockwood Kipling, cerflunydd a thad Rudyard Kipling. Bani Abidi, Atif Khan, Nazia Khan a Samina Iqbal ymarferwyr cyffelyb yn Karachi, lle bu Mehr Afroz yn Ymhlith yr arlunwyr niferus a oedd yn gysylltiedig ag troedio llwybr unig tan hynny. Croesawyd Naiza Khan ar Ysgol Celfyddyau Mayo roedd Abdur Rahman Chughtai unwaith fel gwneuthurwr printiau addawol pan ac Anwar Jalal Shemza. Roedd Chughtai wedi ei drwytho ddychwelodd o Brydain. Cyfunai ei gwaith sawl edefyn yn ei hoffter o’r etifeddiaeth Foslemaidd mewn addurn o wneud marciau mewn paentio, printio a lluniadu. Mae ac mae ei ysgythriadau a’i waith acwatint yn ategu ei ei themâu canolog sy’n ymwneud â benyweidd-dra, baentiadau golchiad arddulliol eithriadol. Fe’i rhywioldeb a chnawdolrwydd yn adleisio gweithiau hedmygwyd yn fawr ond ni fagodd lawer o ddilynwyr. gwneuthurwyr printiau eraill Ysgol Gelf Dyffryn yr Indws Ar y llaw arall, ac yntau wedi’i arfogi â iaith weledol a’r Coleg Celf Cenedlaethol. Mae arlunwyr ifanc yn ffres a ddysgodd fel myfyriwr yn Ysgol Celfyddydau Cain parhau i frwydro â chymhlethdodau cyfrwng a neges Slade ar ddiwedd y 50au, pontiodd A.J. Shemza yr mewn cymdeithas lle mae popeth yn y pair. Yn eu plith ‘hiraeth am y gorffennol’ â gofynion y presennol. Ac mae Sameera Khan, Fatima Saeed, Zaira Ahmed ac yntau’n ddilynwr selog i Paul Klee, archwiliai Shemza y Imran Ahmed sydd, fel gwneuthurwyr printiau eraill, yn cysylltiadau rhwng nodiannau hieroglyffig Klee a mynd i’r afael â realeddau haenog â dycnwch creadigol. llinelloleddau cain ei draddodiad caligraffig ei hun. Mae Gwneuthurwyr Printiau Pacistan bellach yn Ond roedd hyn ymhell iawn o weithgaredd printio yng mentro’n hyderus i’r posibiliadau lluosog a ddaw gyda ngweddill Pacistan, a oedd mewn cyfnod o drwmgwsg thechnoleg ddigidol ac ar yr un pryd yn dadansoddi ac hir. Nid nad oedd arlunwyr Pacistanaidd yn cloddio yn y yn didoli materion croes hunaniaethau, hanesion a ddisgyblaeth yn awr ac yn y man. Roedd arlunwyr yn pherthnasedd. archwilio amrywiaeth o brosesau ym Mhacistan a thramor. Yn eu plith roedd Naz Ikramullah, Nahid Azfar, Salima Hashami Shahid Sajjad, Ahmed Khan, Zahoorul Akhlaq, Mehr Afroze a Mansoora Hassan. Serch hynny, roedd y fframwaith sefydliadol angenrheidiol er mwyn Mae’r Athro Salima Hashmi yn arlunydd sydd wedi hyrwyddo’r arfer naill ai ar goll neu’n gwbl annigonol. arddangos yn eang ym Mhacistan a thros y byd. Mae’n guradur ac yn awdur sydd wedi cyhoeddi’n eang ar Roedd hi’n 1985 cyn y gwelwyd egni newydd a chyfnod gelfyddyd ym Mhacistan. Ymhlith ei phrif gyhoeddiadau newydd a ddechreuodd yn y Coleg Celfyddydau mae "Unveiling the visible: lives and works of women Cenedlaethol, sef Ysgol Mayo gynt. Dychwelodd Naazish artists in Pakistan." Roeddd yr Athro Hashmi yn gyd- Ataullah ac Anwar Saeed yn dilyn eu hastudiaethau ôl- sylfaenydd ‘Rohtas 2’ yn Lahore ac yn aelod sefydlol o raddedig yn y Slade a’r Coleg Celf Brenhinol yn Llundain Fforwm Gwragedd yn Gweithredu ym Mhacistan. i gymryd swyddi dysgu. Cawsant gymorth y printwyr Ymddeolodd o Goleg Cenedlaethol y Celfyddydau yn Bartolomeu Dos Santos a Peter Daglish, a ddaeth i Lahore, Pacistan, fel Athro’r Celfyddydau Cain yn 2000. ymuno â hwy, gan gryfhau’r addysgu drwy gynnal Ar hyn o bryd mae’n Ddeon Ysgol y Celfyddydau gweithdai a chychwyn ymchwil i ddeunyddiau lleol. Gweledol ym Mhrifysgol Cenedlaethol Beaconhouse yn Ymunodd Afshar Malik a Jamal Shah â’r nifer cynyddol Lahore. o wneuthurwyr printiau a ddychwelodd ar ôl eu hyfforddiant hefyd yn y Slade. Blodeuodd y berthynas arbennig rhwng y ddwy ysgol wrth i’r gr ˆwp ehangu gyda Sabina Gillani a Laila Rehman, y ddwy wedi elwa o’r rhaglen M.A yn y Slade. Dychwelodd pob un ohonynt I Bacistan i rannau eu harbenigedd gyda myfyrwyr a chynulleidfaoedd orielau.

30 31 Tour Dates

14th January - 5th February 2006, Oriel Ceri Richards, Taliesin Arts Centre, Swansea University 8th February - 24th February 2006, St Donats Arts Centre and Gallery, 27th February - 31st March 2006, Sultan Gallery, Lancaster

Acknowledgments

Sarah Hopkins - Project Manager and Editor Salima Hashmi - Foreword Staff and voluteers at Swansea Print Workshop Aasim Akhtar - Urdu translation City and County of Swansea - Welsh translation Ali Raza - Curator of Highpoint exhibition Minneapolis Oriel Ceri Richards, Taliesin Arts Centre, Swansea University The Craftsman Gallery - Exhibition sponsors

Published by Swansea Print Workshop, 19a Clarence Street, Swansea SA1 3QR Wales, UK © Swansea Print Workshop 2006 ISBN 0-9544976-2-7 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise without permission of the author. Design by Ridler Webster Limited, Swansea Printed by Harcourt Litho, Swansea

F C S D W N A A

Y CITY AND COUNTY OF SWANSEA swansea print workshop DINAS A SIR ABERTAWE D gweithdy argraffu abertawe IN A W S TA A ER

The Craftsman Gallery

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