About Saima Quresh
Saima Qureshi (born 1972, Karachi, Pakistan) is a professional artist who works mainly with painting. She trained and worked as a Pediatrician/Medical Toxicologist in Michigan before embarking on a career is Art. She received art instruction through workshops in Pakistan and United States. She creates works that are executed in vivid colors and combine age-old patterns and motifs with contemporary techniques and abstraction. She is a proponent of building bridges between people of all cultures, colors and faiths and this is reflected in her abstract themes.
Recent exhibitions include Art Expos in Miami and New York, and group exhibitions in Florida. Saima’s work can be found in public and private collections in the United States and United Arab Emirates.
She is an active participant of Art programs for children in her community. Saima is a naturalized citizen of the United States and lives and works in Longwood, Florida.
I am drawn to patterns, motifs and color. My artwork incorporates themes of human emotions and connection between humanity. While my initial work was inspired by the symmetry of geometric patterns used in Islamic art and architecture, it has evolved to incorporate global patterns. I grew up surrounded by these patterns and using them is nostalgic. My work is full of color that surrounded me during my early life in Pakistan.
I work on canvas and marine grade mahogany panels. I paint with supports laid on a horizontal surface. This allows me to use techniques involving free flow of paint and allows paint to stand on the panels until it dries. With a background in Medical Toxicology, I use organic pigments and pay attention to preserving the environment. Geometric and floral motifs are incorporated using masking tapes. Floral patterns are painted and texture is created. I work in layers, sometimes as many as thirty and take several weeks to complete a piece. My work is an amalgam of controlled patterns and uncontrolled movement of pigment; a mixture of traditional and contemporary.
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