5 Questions with Zaiba Khan
Zaiba Khan is a multidisciplinary artist based in Melbourne, Australia. Heavily influenced by her Fijian-Indian Islamic upbringing, Zaiba's practice examines narratives of migration and diasporic experience.
Akira Isogawa, Stanislava Pinchuk and Zaiba Khan will discuss how they fashion the body and mark identity through adornment, both temporary and permanent.
6—7.30PM, 10 March, Immigration Museum.
No.1
Can you speak to how you first came to your practice as a gold and silversmith?
I should have known early on considering all the time I spent rifling through my mums jewellery. But I studied printmaking before gold and silversmithing, I was doing tiny copperplate etchings, coin-sized and smaller. I loved the small scale and working with metal which led me to casting, the first piece I ever made in metal had a cardamon pod in it. It was slow to start because there’s a lot of technique and equipment involved, but I really loved it and most importantly I was able to say what I needed through the object. I went on to study jewellery and object design so I could get the skills I needed and now we’re here.
No.2
Your upcoming event at the Immigration Museum, ‘Fashioning the Body’ considers how one marks one’s identity through adornment. How does your own culture, or your own identity, underpin your practice, of creating adornments?
I’m Indo-Fijian, a descendent of Indenture, born in Aoteroa, and have lived in Melbourne since I was a kid. I’m a muslim woman, parts of my family many years ago were also Hindu, and we come from opposite ends of India. There’s a lot going on! But jewellery, dress and objects are markers for all these identities, and my body and home is where they all meet. It’s who I am, so is woven into everything I do. When I make I think about family, grief, loss, old knowledges, divine timing, love, beauty, and above all, the spirit. There’s also not much separation between my art practice and spiritual practice. Adornment and the object are what I use to talk about these ideas, because they relate so closely to the everyday, to how a life is lived. They can be sanctified, and preserve a story. It’s my small way of healing the grief that comes with wisdom and knowledge being erased, and to celebrate the multiplicity of my identity. Also of course, Indians are heavily adorned people and to be honest I think that’s genetic and I cant help myself. Sorry, I could write an essay about this!
No.3
How do you yourself mark your own identity through adornment?
I think of gold like my mum would, it’s treated like an investment but also a thing of beauty. It’s helpful that I’m a jeweller and can make pieces that are significant to me. I wear kaajar (kohl) behind my ears to protect me, and attar (perfume) sometimes, but especially on Fridays. Henna on my hands. And I’m tattooed. My tattoos are an ongoing project between my friend Ange and I, and it’s a beautiful practice. Adornment is how I empower myself, and honour my ancestors.
No.4
What does a day in the life of a young, contemporary gold and silversmith look like?
On the days when I’m working for myself, I'm either at my bench where I live, or I drive out to my parents place where I have a bigger set up (I’m hoping to have just the one studio set up soon). Each day is different and depends on what I’m working on! If I'm making a religious object, like a prayer bead, it’s as though I’m worshipping - everything is clean, I set an intention, I’ll mostly work in silence.
Generally though, I get up, do some thinking, look at my phone/talk to my sister, get ready, read a little bit to set the making mood, say hi to my tools, make a list of what I need to do and alternate between urgent things and fun things. Some days are for commissions and some are for exhibition work.
No.5
Do you have a piece of advice for budding gold/silversmiths?
I think it’s important to acknowledge the craft, and the deep traditions that come with it. It’s so so old, and I think that’s forgotten sometimes. There are a lot of skills involved! Advice to people studying anything creative is to be aware of where your inspiration comes from, your first ideas are general and probably done and so you have to keep going deeper until you’re making the work only you can make. Also, learn about cultural appropriation and how damaging it is to marginalised communities.
Find out more
Akira Isogawa, Stanislava Pinchuk and Zaiba Khan discuss how they fashion the body and mark identity through adornment, both temporary and permanent.
6—7.30PM, 10 March, Immigration Museum.