Zarina Hashmi, widely recognized as Zarina, was born in 1937 in Aligarh, India, and her life was profoundly shaped by the events surrounding the Indian Partition. Following this upheaval, she and her family relocated to Pakistan, and her journey continued through various global cities, including Bangkok, New Delhi, Paris, and Tokyo, before settling in New York in 1976. Throughout her artistic career, which spanned until her passing in 2020, Zarina's work--characterized by minimalist prints, drawings, cast-paper reliefs, and sculptures--consistently explored themes of mapping, memory, and migration.
Upon arriving in New York, Zarina quickly became a pivotal figure in the art community. She was integral to the New York Feminist Art Institute and served on the editorial board of Heresies magazine, where she co-edited the influential 1979 issue on Third World Women. Additionally, she co-curated the significant exhibition Dialectics of Isolation at A.I.R. Gallery in 1980, showcasing South Asian women artists. Her artwork has been featured in prestigious institutions, including a retrospective at the Guggenheim Museum in 2013 and her ongoing exhibition, Beyond the Stars, at Luhring Augustine Gallery.
Zarina's artistic expression is deeply intertwined with her experiences of dislocation. She famously described "home" as an "idea we carry with us wherever we go." Despite the complexities of her nomadic life, her presence in New York made her a beacon for South Asian American artists, particularly women, who sought representation in a predominantly white art landscape. Zarina's visibility and resilience countered the erasure often faced by artists of color, making her a vital influence for future generations.
Her works, such as the woodcuts Mapping the Dislocations (2001) and Cities I Called Home (2010), reflect her unique perspective on identity and belonging. The former illustrates her geographical journey with a jagged line, emphasizing the movement rather than the destinations. In contrast, the latter presents a cartographic view that equalizes her various homes, challenging traditional narratives of diasporic experience.
Zarina's exploration of themes related to the Partition is poignantly captured in her prints Dividing Line (2001) and Abyss (2013), which visually articulate the impact of this historical rupture. Her innovative use of paper in works like Pool II (1980) and Marrakesh (1988) transforms it into a medium that embodies both fragility and strength, symbolizing the homes many carry within them as they navigate the world.
As we reflect on Zarina's legacy, her art serves as a powerful reminder of the complexities of identity and the enduring nature of home. Her work not only enriches the cultural landscape of New York but also inspires future artists to explore their narratives and connections across borders.