Recent data from Pakistan’s top art schools show greater diversity in class, gender and ethnicity
The writer is a Lahore-based academic currently associated with Forman Christian College, a chartered university
Dear Graduating Artists of 2026,
Who are you? What are you saying? Why is it important?
These are the essential questions that arise from the bold, unfiltered creative expressions at Lahore’s leading art institutions – most recently at SVAD, Beaconhouse National University, and Kinnaird College for Women University. Walking through these exhibitions, something significant is apparent. Art is no longer just for passive appreciation; it now invites critical inquiry. In an age of digital noise, people crave authenticity, which these exhibitions provide. We turn to your generation not just to admire your skill, but to understand your message. These creative choices prompt us to consider how we maintain our shared humanity. The issue is no longer just about art – it’s about the survival of human awareness.
Recent data from Pakistan’s top art schools show greater diversity in class, gender and ethnicity. But this is more than a numbers game – reflecting a real shift in mindset. The art shows reveal a seismic change in perspective. For example, the KC girls (Amna, Maham, Qurat, Yumna, Rabel and Samia) are not spinning fairytales or waiting for Prince Charming. Their surreal, imaginative settings evoke fantasy but have also become spaces for confronting inner demons and outer devils, pressures and patterns while rightfully claiming and creating safe havens.
At BNU, Ridah Naeem turns vulnerability into self-sovereignty while Amal Khan reclaims safe havens from societal pressures. Wondering if these forms are true sanctuaries or fragile illusions. Alongside Esha Hassan, their projects bridge art and architecture – fusing model-making and structural design across fine art, textiles and space.
This move to rethink old assumptions parallels a global shift toward decentralised education. Today’s students are rejecting Western-centric canons, grounding their work in local and transcultural histories. Some, like Mohrelle Hussain, are invested in the ethics and history of their materials, looking inward and backward and deeply into the soil to discover their voices. Creative practice is no longer confined to the traditional canvas or passive gallery; it has become a battleground for human sovereignty and tactile truth.
For Soha Khan, this insistence is rooted in ecological conscience. Sustainability is no longer just a trendy buzzword but a baseline of human existence. Saman Kumara uses bio-based, reclaimed materials, making practice a narrative of care and responsibility, moving away from wasteful production. Hamza Qureshi, with Caravaggio-like skill and scale, rejects the idea that contemporary, conceptual art lacks rigorous training and reclaims painterly quality.
Today, a significant portion of incoming students do not enter the studio merely to master form or representation; they aim to investigate power dynamics. Ammar Gulraiz, through acts of violence, labour and transformation, critiques consumer culture. Migration, displacement and identity issues remain important themes for Sajjad Yousefi, Priadarshana and Ayesha Farooqi, who treat the studio as a research laboratory employing investigative methodology as a forensic tool. Overall, these young artists are highly motivated to use material consciousness to address historical erasure, gender politics and the enduring legacies of institutional power. They choose art because they recognise a profound truth that society often forgets: visual literacy is a potent form of civic power.
This profound realisation does not occur in a vacuum. It requires mentors who understand that teaching art is an act of stewardship. Heartfelt congratulations are due to these mentors. Through their guidance, these educators have done far more than teach technique – they have fostered true civic responsibility. By cultivating empathy and enabling democratic participation, they have empowered a new generation to raise political consciousness among marginalised populations and challenge systemic imbalances of power. As you move forward, remember: your work has the power to shape conversations, challenge norms and build a more just world.
Bano
July 2026
