Rabiya Choudhry is a multidisciplinary visual artist who explores identity, visibility and migration. Her own experiences and cultural background are embedded in her work, from the vibrancy of the colour palettes to the fabrics employed. The name of Choudhry’s father, Mazhar, is celebrated in the neon called Dad (2018). A message of the work is to question and create dialogue surrounding the social position and value of South Asian shopkeepers in the UK. Dad speaks to the visibility and invisibility of the names of South Asian workers who deserve recognition within their local communities. In addition, the neon recognises the essential role played by shopkeepers as key workers in the community both throughout the Covid-19 pandemic and prior to it.
The two acrylic paintings titled House for the Holy (2016) and Dream Baby Dream (2016) offer a glimpse into the artist’s perception of the impact of mental health during lockdown. House for the Holy (2016) depicts an isolated house in the form of a face. The windows are filled with tears, members, a reminder that hate speech can begin close to home. The disconnected telephone cable conveys the difficulties of letting go of negativity and keeping communication lines open. Dream Baby Dream (2016) reveals the internal workings of a head divided into small rooms, with people dreaming of a better future despite battling with depression. Each character escapes the reality they face through coping mechanisms from food to dancing.
Glasgow’s Asian community has had a long history with the city, through Empire, trade and migration. This acquisition acknowledges how these histories are expressed in a contemporary context and is inspired by Glaswegian humour, which can be comedic, dark and layered. Rabiya Choudhry’s works enable GoMA to engage with the wider community, particularly when trying to make sense of the complexities of life during a global pandemic.
