For the third episode, we have visited Sanié Bokhari in her Brooklyn studio, as she’s working on her upcoming solo show at the gallery this November.

The essence of the work of Sanié Bokhari lies in a fluid limbo, that of living a double identity as an artist born and raised in Pakistan, then moving and working in the States.

In her practice Saniè has formulated a contemporary interpretation of ancient miniature paintings: the graphic style made of sinuous lines is still present and, as she admits, a big source of inspiration for the elements and symbologies she incorporates, much of which deriving from books of ancient South Asian and Pakistani mythological and religious narratives. At the center of the scene, however, Sanié depicts sort of alter egos of herself: female figures often engaged in meditative expressions, as they roam in their spectral presence between a mental and spiritual realm, while navigating this transitional state between the past and the present.

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How would you describe your current studio?

“
My current studio is in a building filled with other painters and creators, it’s situated right next to a beer brewery and around the corner from McCarren Park.

I love the area, and walking through the park to get to the studio is something I look forward to everyday. This space finally feels like home.

It’s nice to have other artists walking in
the hallways, some of whom I’ve come to know. It almost reminds me of art school and the beautiful community of painters I connected with there.

The studio itself is full of light, with a large window offering a view of the Brooklyn- Queens Expressway and its constant traffic. I feel this constant movement in the window influences my work too - I see it reflected in my gestural strokes of paint, charcoal and graphite.

I had my previous studio for about a year - it was much smaller, with a longer commute, and the area didn’t feel safe at night. It had a tiny window that I mostly used for storage and so natural light was constantly blocked. While I got used to it and was grateful to just have a space to work, it eventually became cramped as my
work piled up, turning it into more of a storage unit than a creative space.

I also believe the space where the work is created greatly influences the feeling it induces. My current work feels much more open to new possibilities, with a cohesive narrative rather than bits and pieces of small stories.”

Image of three women with red lights from the eyes. — Sanie Bokhari (b. 1991), *Twin Blade Las3r*, 2024, Pastel, Graphite, Gouache, Acrylic on Canvas, 20 H x 16 W in. / 50.80 x 40.64 cm

You’re currently working on your upcoming show. Can you tell us more about that title and some of the leading themes or sensations driving these new works for the show?

“The title is still under construction; I have too many ideas and wish I could use all of them!
The work feels very complex and layered and so maybe a whole book might suffice for the title!

The work I’m preparing for the show tells different parts of a long story about time travel, tradition, change and reincarnation. It’s a series of intricate visuals that dance across the canvas with joy, love, reminiscence, and nostalgia. Each canvas begins
with a base of acrylic staining and washes. I lay the canvas flat, soak the surface, and then apply colors that merge to form wet-on-wet textures and shapes that take on a life of their own.
These forms inform the compositions on top, which feature figures dancing and moving on floating Persian rugs. They represent humans migrating through time and space, searching for new lives while holding onto their roots, symbolized by a Persian rug that stays consistent in the entire narrative.”

Is there anything you like to listen to/watch/read/look at etc. for inspiration?

“When I start a piece and begin working on the first layer, which starts with paint washes on canvas, I tend to gravitate towards house or disco music sets on soundcloud. It feels like one
uninterrupted long dance party! This part of the process is more free-flowing and intuitive, allowing my subconscious mind to take over. It feels less calculated and more spontaneous.

For the more calculated renderings, I prefer listening to podcasts, with a background voice
speaking to me in the studio. I often tune into Radiolab, Are We On Air?, How I Built This, Tetragrammaton, and similar shows. These podcasts feature interviews with interesting
creatives discussing their art forms, businesses, and creative processes, sharing how they brainstorm and navigate their careers. Studio time can be isolating, usually in a positive way
for me, but sometimes it can feel overwhelming. Listening to others stories helps me get out of my own head and stay motivated.”

What tool or art supply do you find yourself to enjoy the most in working?

“I love a good blender! Something that keeps the pigment intact but blends seamlessly - I also love using makeup blenders which work really well with pastels and graphite. Especially the big round beauty blender!”