Saberah Malik
No Bed of Feathers, 2020
Polyester fabrics, feathers 16" H x 28" W x 20" D
From delicate or jewel encrusted peacocks of Mughal India to Edgar Alan Poe’s Raven, from Louis Bernier’s Birds Without Wings to our own national emblem of a majestic eagle, birds have represented particular identities at different epochs of human history, cultural paradigms and political thinking. Migratory birds whose habitats have been curtailed due to farming or urban expansion or hungry birds ravaging precious grain supplies begs the question, who is the predator, who the prey; who the oppressor, who the oppressed? Killed for consumption or caged for human entertainment, birds also symbolize human incarceration that is not necessarily behind bars, but an entrapment in prisons of poverty, abuse, lack of resources and opportunities for upward mobility or forward journeys
Saberah Malik
No Bed of Feathers, 2020
Polyester fabrics, feathers 16" H x 28" W x 20" D
From delicate or jewel encrusted peacocks of Mughal India to Edgar Alan Poe’s Raven, from Louis Bernier’s Birds Without Wings to our own national emblem of a majestic eagle, birds have represented particular identities at different epochs of human history, cultural paradigms and political thinking. Migratory birds whose habitats have been curtailed due to farming or urban expansion or hungry birds ravaging precious grain supplies begs the question, who is the predator, who the prey; who the oppressor, who the oppressed? Killed for consumption or caged for human entertainment, birds also symbolize human incarceration that is not necessarily behind bars, but an entrapment in prisons of poverty, abuse, lack of resources and opportunities for upward mobility or forward journeys
Saberah Malik
Forms of Every Breath You Take, 2021
Polyester fabrics, fishnet 144" H x 36" W x 36" D
I had been searching for a more compelling connection of external stimuli to bond a desire for integrating a culture of devotion and appreciation of natural phenomena into my creative content. The answer has been the introduction to oceanographic science, which for me, made the invisible visible, the seemingly inconsequential of the greatest consequence. I have been awestruck with the physical beauty and diversity of phytoplankton morphology, and the choreographic grace of their journey along the ocean currents. This work is an introduction to these marvels of the deep, generators of seventy percent of our oxygen supply and inceptors of a food chain that sustains life on earth.
Saberah Malik
Silenced, 2021
Polyester fabrics, wood, canvas, gauze bandage 80" h x 60" w x 60" D
In the fall of 2019, apple orchards lay wasted, bull-dozed and trampled upon by occupying forces in the vale of Kashmir. Married into a Kashmiri family, I continuously witness the grief and pain of family members. The world’s silence to human rights abuses there is as deafening as the Kashmiri’s sense of helplessness, hopelessness, with no available source of compassion to help heal systemic injuries to people or to nature. The land lies silenced, the people are silenced and we are all guilty of being silent witnesses.
Saberah Malik
Passage West, 2018
Immersion dyed cotton organdy, digitally printed silk organza 10' H x 50" W
Saberah Malik
Spring Interred, 2020
Polyester fabric, tin cans 18"H x 15" W 9" D
Saberah Malik
Habitats Unknown, 2020
Polyester fabric, leaves 7" H x 12" W x 12" D
Saberah Malik
Black Cactus, 2020
Polyester fabrics, plastic ties 60" H x 20" W x 6" D
Saberah Malik
Bountiful, 2020
Polyester fabric, antique metal tray 7" H x 16" W x 16" D
Saberah Malik
Thousandth Hour of the Next Journey, 2018
Polyester fabrics 52" H x 60" W x 8" D
