Exhibitions

Cambridge

Art Show

Cambridge, UK

RUPTURE XIBIT

Surrey, UK

projects

The flower project

Surrey, UK

As an artist, I’ve always been drawn to the profound beauty and symbolism of flowers. Looking back through art history, I’m inspired by how Vincent van Gogh’s Sunflowers and Irises radiate emotion and intensity, how Monet’s water lilies capture a tranquil, almost meditative beauty, and how Frida Kahlo’s flowers express both pain and resilience. 

In my own work, I find that flowers hold a dual meaning: they are both a celebration of beauty and a reminder of it’s transience. Like life itself, their moments of bloom are fleeting, urging us to appreciate the here and now. Floral art has long explored femininity as well—inviting reflection on womanhood, beauty, and the nurturing aspects of motherhood. These are themes that resonate deeply with me. 

I have selected roses, sunflowers, lilies and water lilies to symbolise the fleeting moments in life that are so precious yet impermanent, a reminder of the cyclical nature of growth and decay.

Interestingly, I’ve come to  realise that I see another aspect to flowers, as a kind of transitional object in my own life. Psychologist Donald Winnicott described transitional objects as items that help bridge the gap in a child’s life when separated from a caregiver. For me, flowers have become a bridge between past and present, connecting me to the nurturing role I once held as a mother. Painting flowers now fills that space in my life, providing a sense of continuity and comfort. Watching each bloom go through stages of growth, resilience, and eventual decline mirrors my journey of motherhood. My practice helps me honour the love that remains, even as life and relationships have transformed. In many ways, nurturing flowers allows me to remain connected to that profound part of myself—an artist, a mother, and a witness to the beauty and impermanence of life.

The Vessel

Sylhet, Bangladesh

During my last visit, I noticed the battered steel water containers in the kitchen, dented and worn with time. Women still carry these vessels with the same grace they carry their children, perched on their hips, close to their hearts. The connection between mother and child, sharing the same perspective of the world from that close proximity, felt almost magical.

Inspired by this, I began painting these vessels. They evoke for me the warmth and happiness I felt when my own children were young, a simple, joyful bond captured through these timeless objects.

Visiting Longla is always a journey into memory. It’s the one place in the world where I can feel the presence of my parents.

My father chose this land when our family moved from India to East Pakistan in 1945, now Bangladesh. Both of my parents passed away abroad, but in Longla, I find echoes of them.

I vividly recall my mother bringing me to the village home, her joy infectious. We would spend hours swimming in the pond, chasing ducks and chickens, and running endlessly through the tea gardens and rice fields. After more than half a century, the land remains nearly unchanged, and so do these memories.

COURSES

The Prince’s Foundation - School of Traditional Arts

London, UK

My journey of studying the masters and exploring my own cultural identity through miniature painting has been fascinating. The contrast between Western art movements and Islamic art traditions provided rich insights into both aesthetics and cultural values.

During the course, I studied Persian miniatures from the 13th century, which used colours and pigments sourced from natural materials—rare and difficult to obtain. I developed a deep respect for the tradition and authenticity of their work. There was a workshop where we ground and mixed colours and mediums by hand, revealing the incredible skill and attention to detail required to practice the technique.

Persian Miniature

For several years after the completion of the course, I designed and painted stencils, incorporating them into my work. I juxtaposed these stencils with loose, gestural mark-making reminiscent of the Western post-modernist and expressionist periods, bringing together the two disciplines. I experimented with this new aesthetic, exploring how it related to my hybrid identity.

This approach created a dynamic visual language, evoking multiple meanings from the interplay of chaos and beauty within the same space. It invites viewers to engage with the layers of meaning embedded in my work.

INTERVIEWS

A segment of an interview Zahura Sultana had with NTV in 2005 for their Talking Point segment conducted by Syed Neaz Ahmed.

An interview that Zahura Sultana had with NTV in 2024 for their Talking Point segment conducted by Syed Neaz Ahmed.