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Damaged Goods Drawing

Kishwar Kiani

Pakistan

Drawing, Pastel on Paper

Size: 121 W x 142 H x 0.1 D in

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$13,750USD

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About The Artwork

My work inquires the taboos and societal expectations surrounding women's behaviour in public, particularly relating to vanity, acne scars, and body posture. It aims to explore the pressure on women to conform to certain beauty standards and the consequences of not meeting those expectations. The subject here is deliberately sitting in a crouching position that conveys a sense of discomfort, unease, and rebellion against societal norms. The acne scars that adorn my subject’s appearance aims to challenge the notion that they are undesirable or unattractive. I wanted to spark conversations about self-acceptance and challenge the unrealistic expectations placed upon individuals, particularly women, by society. Unfortunately, our society often leads women to believe that they are at fault for not conforming to narrow beauty standards. The motivation behind creating this work also probes into the concept of beauty being subjective, as it is in the eye of the beholder. Personally, I view these acne marks not as blemishes, but as symbols of the individual's unique journey. They tell a story of resilience and growth, rather than being flaws to be hidden or stigmatised. In essence, the scale of the drawing was a deliberate choice aimed at amplifying the impact of the artwork and it played a pivotal role in conveying the intended message. It allowed for a heightened focus on the acne marks, drawing attention to their significance and challenging societal perceptions of beauty.

Details & Dimensions

Drawing:Pastel on Paper

Original:One-of-a-kind Artwork

Size:121 W x 142 H x 0.1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Kishwar Kiani is a visual artist, sculptor and an academic from Pakistan, currently based in Rawalpindi. Questioning how order and chaos coexist through scaffoldings underpins her visual arts practice. She identifies her ‘true-self’ in order and chaos, through scaffolds and mazes. Her works vary from charcoal to metal, exploring ways to break away from the constraints of her learning. She identifies her surroundings as a gigantic scaffolding and in perpetual creative movement: building, renovating, elevating but also obliterating. With her illustrated drawings of people falling out of a crumbling maze and sculptures on the verge of complete disintegration, she toys with chance in hope to find new ways of keeping the viewer at an edge, hanging, predicting the outcome. As every work takes its form from the previous one, the order that once stood separate becomes systemised within chaos as a linear narrative in her works. Nowadays, she is busy creating the hyphen between destruction and creation.

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