borrowed a hot pink burqa from a friend : imagine the possibilities .
Q : What happens when you go home to Pakistan ? Do you see attitudes on veils and burqa shifting recently ?
A : Things are changing . The ever-evolving fashion scene in Pakistan is one example , where the clothes are becoming daring , bold and dramatic , in complete opposition of the social climate and Islamic radicalization . However , this is not the norm , and these aren ’ t the masses I am referring to .
Much of the country lies in poverty and illiteracy . As the income brackets change , so does the clothing . Some Pakistanis from liberal , educated backgrounds are privileged enough to unveil and can take that risk . These luxuries aren ’ t afforded to women and girls living in slums and rural areas who are forced to cover themselves due to their long journeys to schools and work . They endure harassment , sexual advances , constant stares and lewd remarks .
Q : So the images you are creating in Toronto ’ s streets are almost like performances — and they play at that junction of what is public and what is shielded or partially hidden .
A : We have been working all over Toronto with the burqa . Especially alleys with graffiti which Toronto is quite famous for . I enjoy alleys and side streets because of the anonymity : we usually do not know the identity of the artists behind the work . They work in dark , secretive conditions and disappear by daylight .
Alleys are urban , concrete burqas . In a sense , you become fenced in with walls and all kinds of street art , with one , straight vision out onto the streets . When I place my subjects into the frames in their burqas , it becomes a veil within a veil , a frame within a frame .
We happened upon the mural of the Afghan girl , adapted from one of the most popular photographs in the world by Steve McCurry , while exploring locations for shoots .
Sharbat Gula , the girl he photographed , is now a middle-aged woman , wears a burqa and is displaced .
Q : Your mother , Adeen Taji , is quite a famous artist — a noted poet and lyricist in Pakistan . What does she think of your work ? Could these images exhibit in your home country ?
A : I understand that if I were to show my work in galleries in Pakistan , it would be for a handful of people . I find Pakistani painters like Iqbal Hussain and Sadequain ( now deceased ) to be more daring and provocative than photographers , especially on the themes of gender and sexuality . I also want to mention the particularly brave and quite extraordinary work coming out of Bangladesh right now , such as work by the photographer Gazi Nafis Ahmed .
My parents are unique , I have big shoes to fill indeed . They strongly believe in education . They are both practicing Muslims , deeply religious in some ways . They always recall the saying by Prophet Muhammad : “ Seek knowledge , even if it is as far as China .” They ’ ve invested in our careers , even in the arts . I wouldn ’ t be anywhere I am today without their support .
[ It feels like ] I have two lives , one foot firmly rooted in Islam and Pakistan , while the other is exploring living an unconventional , liberal and experimental life in Canada . This personal narrative is a recurring theme . . . battling two opposing sides within myself that are trying to co-exist and accommodate one another .
Religion is the only way I know my family . My exposure to Sufism , shrines , Islamic philosophy and Quranic recitation and memorization began at an extremely young age . It is a part of me that I will
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