Marble, Metal and Metamorphosis: In Conversation With Artist Sameen Agha

Lahore-based artist Sameen Agha’s work probes definitions of home, examining the concept’s social and physical dimensions as they intersect with gender and identity. Drawing from personal experiences, her work confronts themes of loss, belonging, and remembrance. On display at London’s Indigo+Madder gallery until 21 September 2024, her exhibition Catalyst features new installations, drawings, and sculptures exploring metamorphosis through material—for instance, in her works Grace and Impulse, marble imitates lace, and metal is transformed into delicate foliage, respectively. To learn more about the artist and her latest show, Something Curated’s Keshav Anand spoke with Agha.

Keshav Anand: In Catalyst at Indigo+Madder, how did you approach the idea of metamorphosis?

Sameen Agha: I was deeply interested in the transformative possibilities of materials. My focus was on how raw materials or ordinary objects can take on new meanings and evoke different emotions when repositioned in a new context. The material itself becomes an active part of the narrative, shaping and guiding the story. However, this idea of metamorphosis extends beyond the physical—it is also deeply personal. My journey feels like an ongoing process of change and self-formation, much like the materials I work with. This dual transformation, both material and personal, is at the heart of the exhibition.

KA: Your work explores the concept of “home” in both its physical and emotional aspects. How do you define “home,” and has this definition evolved through your art making?

SA: The concept of “home” is something that has constantly evolved for me, both in my personal life and through my art. It’s an idea I’ve been fascinated with for as long as I can remember. Much of this exploration comes from my own experiences, as I’ve often questioned my relationship with home and struggled with a sense of belonging. Moving from place to place and navigating the shifts in life has been a rollercoaster, and that journey is reflected in my work. I haven’t yet found a single, definite answer to what “home” means to me, and I think that ongoing search continues to shape my work.

KA: Can you talk about the significance of using materials like marble, metal, and wood in your work, and how they contribute to narratives around gender and identity?

SA: As a student and emerging practitioner, I was initially drawn to materials commonly used in constructing spaces, intrigued by how they shape our environments. Over time, my curiosity led me to experiment with materials like marble, metal, and wood, pushing their boundaries while maintaining my focus on spaces—both interior and exterior—and their intimate connection to the body. Our interactions with the world are inherently physical, and I’m fascinated by how even the grandest, most imposing spaces can maintain a deeply personal, bodily relationship with us.

Gender roles profoundly affect how we navigate and experience these spaces, layering the materials with narratives of identity. As a woman working with such physically demanding materials, the process itself becomes part of the story. The act of entering and working in male-dominated public spaces is often a challenge, one that exposes the tensions and societal expectations around gender. This tension not only informs my work but also deepens the connection between material, identity, and space.

KA: In what ways does the physicality of your work, particularly the act of carving marble, serve as a form of emotional catharsis for you?

SA: Rather than simply a form of emotional catharsis, the physicality of my work—especially carving marble—symbolises the transformation of aggression into softness. Each piece I carve, though born from rigorous and forceful motions, ultimately emerges with a gentle, rounded quality. This process represents the idea that something shaped by intensity can also result in calm and tenderness. In my studio, the act of sculpting is like finding balance amidst chaos.

While carving is demanding and physically strenuous, painting and drawing provide a contrast by offering me a sense of peace and presence. They allow me to reflect and connect more deeply. Sculpting, on the other hand, involves a constant back and forth—between my studio, markets for materials, and the collaborative effort with craftsmen—making it both a struggle and a dialogue, one where the outcome feels hard-earned yet soft in its form.

KA: Your work often includes motifs from childhood memories. How do you navigate the intersection of personal nostalgia and broader societal themes in your art?

SA: My work often stems from a combination of memory and observation. The way I perceive the world is deeply rooted in my personal upbringing and how I’ve been conditioned to see things. Growing up and evolving has made me question my surroundings constantly. This curiosity is reflected in my work. However, I also draw heavily from observing others and the world around me. When a piece hints at a particular narrative, it doesn’t always have to come from my personal experience; it can be informed by how I observe and interpret broader societal themes. This allows my work to balance between the deeply personal and the universally relatable.

KA: How would you spend your ideal weekend in Lahore?  

SA: An ideal weekend in Lahore for me isn’t something I plan rigidly—it’s all about spontaneity and what deadlines I’m juggling at the time! I don’t really subscribe to the idea of weekends as rest days, since I’ve built a lifestyle that allows me to balance work and relaxation on my own terms. Whether it’s a Tuesday or a Sunday, I might be just as likely to dive into a creative project or spend time exploring the city.

When I do take a break, it usually involves food! As a huge foodie with a love for spicy, flavourful dishes, I tend to gravitate toward local joints offering chats and sizzling barbecue. One of my favourites would be the street food scene, where you can find a variety of rich, spicy snacks. Naming a few for you: Samosa Chat from Ghalib Market in Gulberg, Papri Chat from Chatkhara, Pani Puri from this small stall in Lakshmi Chowk right across Butt Karahi. For a proper meal, I might head to one of Lahore’s well-known spots like Rina’s Kitchenette, Paolas by Cosa Nostra or discover new places based on my mood.

Culturally, Lahore offers so much to explore—from the historic Lahore Fort to smaller, more intimate spaces like Wazir Khan Mosque and Shahi Hamam tucked away in the city’s most chaotic corners bursting with life. Sometimes, I’ll spend time wandering through these cultural spots, soaking in the vibrant atmosphere that makes Lahore so special.

KA: What are you currently reading?

SA: I’m an avid reader and usually have 2-3 books going at once. I like to balance fiction and nonfiction—taking my time with nonfiction to absorb it fully, while breezing through fiction a bit quicker. Lately, I’ve been easing back into my reading routine. Right now, I’m reading Parade by Rachel Cusk and Men Without Women by Haruki Murakami.



Feature image: Sameen Agha, Catalyst at Indigo+Madder, London. Courtesy Indigo+Madder