The realm of art and creativity surpasses limitations. A majority of artists engage in self-experimentation as well as experimentation with their chosen medium to create their masterpieces. Sofiya Maharjan is an artist who found a passion for sewing and utilized threads and needles to convey her personal experiences of pain onto canvas. It’s not uncommon for people to encounter unhappiness in their lives, some may choose to confide in others, while others who possess artistic talents find unique avenues to not only manage their pain but also express it in unconventional ways.
Maharjan, the artist, reveals that she was raised by a single mother and had an unhappy childhood as a result of growing up without a father figure. On a daily basis, she witnessed her mother’s struggles to provide for her and her brother. Using stitches and needles on scraps of cloth, Maharjan has managed to capture her memories and emotions. Her art has been well-received, even by seasoned artists who have dedicated their lives to the craft. “This young lady has pushed the boundaries of art beyond the conventional canvas, brush, and colors by using stitches to create a unique style of her own,” remarked Sarita Dangol, an artist and director of the Classic Gallery.
Regarding her artwork, the artist herself explains, “The images that I have displayed are from my personal experiences. I used the photo-transfer method on the cloth as a base, and then I played around with the stitches to give it a more artistic and distinctive flair.” Maharjan, who is also a graduate of Kathmandu University, has been gaining popularity among artists for her unique expressive style. A year ago, she participated in a group exhibition at MCUBE Gallery, followed by another group exhibition at Bikalpa Gallery, where her ideas and expressions were well-received. Now, Maharjan has taken her art to the next level and is showcasing her work in a solo exhibition at the gallery of Dalai-la Boutique hotel, Thamel, from April 7th to May 6th.
In the right-hand corner of the gallery space, Maharjan has included a display of 108 burning ‘diyos‘, which serve as a means of purification and also as a welcoming gesture for visitors to the gallery. The element of fire holds significant importance for individuals across various cultures, and is widely regarded as sacred. Following the welcome display, Maharjan has created yet another piece of art, where she has used the photo-transfer technique to feature a Kumari (the living goddess of Nepal) along with other images, using stitches and threads in her unique style. The Kumari’s image appears to be fading, which creates an intriguing illusion.
Maharjan has very few memories of her father, as he was not living with them. However, she has incorporated items such as the bamboo grain storage vessel, known as ‘daalo’, a unique Nepali Karuwa made of copper and alloy for drinking water, and jewelries that she remembers him having, into her canvases. The artist reflects on the difficult times she and her mother experienced in the past, but acknowledges that with time, the pain has healed. Maharjan further adds, “His absence no longer bothers me.”
In addition to her other works, Maharjan has utilized a long piece of cloth to convey her story. The cloth is suspended from the ceiling of the gallery, and features a series of images that depict a family seated together on a sofa. As the viewer progresses along the cloth, the male figure slowly disappears, until only the imagery of the mother and daughter remain. This artistic approach creates a similar effect to that of a childhood picture book, where the images appear and disappear with the turning of the pages.
Bidhata KC, the curator of the gallery, was immediately drawn to Sofiya’s distinctive artistic approach. KC was intrigued by the artist’s experimental style and the possibility of exploring various art forms. Despite being an emerging artist, Sofiya’s artwork is relatively affordable for art enthusiasts. KC acknowledges the difficulty of curating this type of artwork but believes that she has done justice to the art itself.
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