Syeda Aatika Fatima: Is Someone There?

Fatima’s intricate works blend gouache on wasli, a technique rooted in traditional miniature painting, with provocative depictions of modern life. Her intimate scenes often reveal domestic spaces through open windows and missing walls, inviting viewers to look in from one room to another - uncomfortably aware that the act of watching itself might be invasive. This creates a dynamic tension and contrast between the classic form and futuristic themes, reflecting the way our private lives are increasingly laid bare in a world shaped by CCTV, social media algorithms, target ads and surveillance technology. 

A key influence on Fatima's work is her personal experience growing up in Pakistan. There, she felt constantly observed, not only by technology but also by her community. This sense of being watched, even in intimate spaces like her bedroom, has created a lasting paranoia and vulnerability. To this day, she keeps her blinds closed even during the day. 

This anxiety is central to the exhibition's titled piece, 'Is Someone There?', inspired by Fatima's experience of mistaking a tree's shadow for a person lurking outside her window. The work encapsulates the internalised anxiety many of us feel in a world where we are constantly observed, whether by digital or social surveillance. Fatima is also fascinated by how not everyone shares this discomfort, as people's views on privacy are often shaped by their desire for connection and intimacy. Through her work, she questions what it means to be human in a tech-driven society where social norms are absent.

In A Room with a View, Fatima further examines how these concerns might evolve and what the future of privacy might look like. She envisions a dystopian world where personal control has eroded and surveillance is omnipresent. This large-scale installation, tailored to the site of Mandy Zhang Art, presents several irregularly shaped works that form a jigsaw-like composition, symbolising attempts to create connections between individuals in isolated, monitored environments. Visitors are encouraged to physically engage with this vision of a future devoid of privacy. 

Another highlight is 2084, an interactive work on linen that invites viewers to sit or lie down on the piece, further blurring the boundaries between observer and participant. 

Fatima's works often reflect the privacy concerns shared by her friends and family whose stories she translates into art. Using a mix of consensual photographs and imagination, she constructs complex compositions that combine facts and fiction, echoing how social media, editing tools, and camera technology distort reality. These works also explore the psychological state of constant self-surveillance in the modern world.

Visitors will also find Fatima's works characterised by recurring motifs of architectural spaces. Drawing inspirations from English architecture and landscapes, as well as Pakistani architectural details such as the arched windows, She delves into how socio-cultural factors influence the concept of home and the permanence of living spaces.