Muna Zuberi
Recently my artistic practice has undergone a noticeable shift towards addressing political themes, a response to the growing polarisation on both national and international fronts. One of my focal points has been an exploration of the #metoo movement, which gained prominence amidst the heightened reporting of violence against women during the pandemic and ensuing lockdowns. This subject, though challenging, has prompted deep reflection on the status of women in society and the roles they are traditionally assigned.
Simultaneously, my artistic inquiries have led me to delve into the critical issues surrounding refugees and migration, especially in how these subjects are portrayed in the media. The contrasting treatment of refugees fleeing the conflict in Ukraine and those arriving from other regions has been starkly evident. Consequently, I have embarked on creating artwork that scrutinizes the journeys of refugees and examines the role of journalistic reporting and media opinions in shaping public perception.
My overarching interest in identity and the associated 'labelling' stems from my personal background as a 'mixed race' individual with an immigrant parent. Notably, I was advised a few years ago to use the term 'mixed heritage' instead of 'mixed race,' which prompted me to question who has the authority to dictate what terminology I should employ to describe myself. This introspection extends to various aspects of life, where individuals are often categorized and labeled – whether as wives, mothers, breadwinners, spinsters, weak, strong, middle-aged, old, ugly, pretty, handsome, refugees, migrants, and more. It raises the fundamental query of whether these labels genuinely define who we are.
I believe we are all so much more than the labels assigned to us; we are simultaneously unique and interconnected by our shared biological origins. Our multifaceted identities go far beyond these simplistic classifications and I want to break down the stereotypes these labels encourage.
I became a fellow at Digswell Arts in Letchworth Garden City in October 2019.
Statement
Recently my artistic practice has undergone a noticeable shift towards addressing political themes, a response to the growing polarisation on both national and international fronts. One of my focal points has been an exploration of the #metoo movement, which gained prominence amidst the heightened reporting of violence against women during the pandemic and ensuing lockdowns. This subject, though challenging, has prompted deep reflection on the status of women in society and the roles they are traditionally assigned.
Simultaneously, my artistic inquiries have led me to delve into the critical issues surrounding refugees and migration, especially in how these subjects are portrayed in the media. The contrasting treatment of refugees fleeing the conflict in Ukraine and those arriving from other regions has been starkly evident. Consequently, I have embarked on creating artwork that scrutinizes the journeys of refugees and examines the role of journalistic reporting and media opinions in shaping public perception.
My overarching interest in identity and the associated 'labelling' stems from my personal background as a 'mixed race' individual with an immigrant parent. Notably, I was advised a few years ago to use the term 'mixed heritage' instead of 'mixed race,' which prompted me to question who has the authority to dictate what terminology I should employ to describe myself. This introspection extends to various aspects of life, where individuals are often categorized and labeled – whether as wives, mothers, breadwinners, spinsters, weak, strong, middle-aged, old, ugly, pretty, handsome, refugees, migrants, and more. It raises the fundamental query of whether these labels genuinely define who we are.
My view is that we are all so much more than the labels assigned to us; we are simultaneously unique and interconnected by our shared biological origins. Our multifaceted identities go far beyond these simplistic classifications and I want to break down the stereotypes these labels encourage.
I became a fellow at Digswell Arts in Letchworth Garden City in October 2019.
Awards
2023: Financial support for exhibition, Oppenheim John Downes Memorial Trust
2017: 3rd Prize, Stevens Competition for Architectural Glass (Architectural Glass Artist of the Year), Worshipful Company of Glaziers and Painters of Glass.
2014: Prize for Presentation, Stevens Competition for Architectural Glass (Architectural Glass Artist of the Year), Worshipful Company of Glaziers and Painters of Glass.
2013: Financial grant, Eaton Fund
2011: Winner, Ashton Hill Award, The Worshipful Company of Glaziers and Painters of Glass.
10 week funded training award. Worked on stained glass restoration projects as well as further exploring glass painting and design.
Selected Commissions
2023: ‘The Four Leaf Clover canal boat windows’, private client
2023: Internal mosaic window, private client
2021: Multi panel Victorian repro set with painted bird inset, private client
2020: The Hive Project, The Howard Centre. Community engagement project.
2020: Sheree & Co, autonomous applique panel commission, private client
2019: Desire Lines autonomous applique panel commission, private client
2015: Cullin Hills architectural applique glass window commission, private client
2014: Art in the Garden at the Sir Harold Hiller Gardens, nr Romsey
2013: Leaves architectural applique glass window commission, private client
2012 -13: Stargazing, Mottisfont Abbey near Portsmouth, The National Trust. Applique panel for sculpture trail
Selected Exhibitions
2022/23: Letchworth Open 202/23, Broadway Gallery
2022: Shortlisted, The Charlotte Fraser Ceramic and Glass Prize, Holt Festival Art Prizes.
2022: It's All In The Technique, National Glass Museum, Sunderland
2021-22: BSMGP Centenary Touring Exhibition
2021: Artists Responding To, Zine featuring artists responding to social issues, online and printed
2021: BSMGP Centenary Exhibition, online exhibition
2021: Letchworth Open, Broadway Gallery, Letchworth Garden City
2021: Hands Across the World, Contemporary Glass Society online exhibition
2019: British Glass Biennale 2019 at the International Festival of Glass, Stourbridge
2019: Courtyard Arts Open, Hertford
2018: Harlow Open 2018, Gibberd Gallery (Commended)
2017: Past Futures, Gatehouse Arts, Harlow
2015: Bits and Pieces, Contemporary Glass Society online exhibition
2013: Death and Decadence, The Gallery, Stoke Newington, London
2013: Par-al-lax, Mile End Art Pavilion, London
2013: Rising Stars, New Ashgate Gallery, Farnham
2010: South London Women Artists at the Bankside Gallery, London
2009: In-House – The Kowalsky Gallery, Clerkenwell
2009: New to DACS, The Kowalsky Gallery, Clerkenwell
2008: Royal Birmingham Society of Artists, First Biennial RBSA Open Portrait Award, Birmingham
2008: The Society of Women Artists – 147th Anuual Open Exhibtion, Mall Galleries
2008: Romance – The Kowalsky Gallery, Clerkenwell
2007: Stick*Stamp*Fly, Gasworks, Vauxhall
2007: Arts Unwrapped, Studio event
2006: ‘Tri Summer Fest’- Pepperton Gallery, Croydon
2006: ‘In Quest’ – Pepperton Gallery, Croydon
Education
2023: Masterclass, Verre Eglomise, CEL, Lewisham
2012: Architectural Glass Level 4 Workshop in Painting with Silver Stain and Enamels, School of Architectural Glass, Swansea
2011: Architectural Glass Level 4 Workshop in Glass Painting, School of Architectural Glass, Swansea
2010: Stained Glass Workshop, CEL, Lewisham
2010: Glass Engraving, Morley College
2010: Stained Glass Repair, CEL, Lewisham
1997 – 2001: BSc (Hons) CIS Design (Multimedia Pathway), Kingston University
1984 – 86: Btec General Art and Design, Croydon College
Social
Web: www.munazuberi.co.uk
Instagram: munazuberi