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Rameesha Azeem, Meteor 1, 2019. Graphite on paper, 4 x 5 inches. Courtesy of the artist

Rameesha Azeem, We hope for it to end one day, 2019. Metal, enamel paint and latex. Courtesy of the artist

Rameesha Azeem, We are all built the same, 2019. Paraffin and bees Wax with colour pigments. Courtesy of the artist

Rameesha Azeem, Arraying of neurosis, 2019. Metal structures and latex tubes. Courtesy of the artist and Beaconhouse National University.

Rameesha Azeem works across sculpture, installation and drawing to explore the boundaries between the individual and social body. She draws inspiration from clinical sources and histories of science to interrogate the body as a contested site; and defies binaries of soft and hard, synthetic and organic, in order to trace the tensions in society.

During her residency, Rameesha plans to survey the negation between people and their bodies, post coronavirus. She is interested in the way contradictions in contemporary society are inscribed upon flexible and docile spaces in which the body - emancipated and repressed at the same time - becomes both the object and the subject of aesthetics.

She is also interested in developing her skills in glass-blowing by reaching out and working with glass studios and artists in London.

Rameesha Azeem’s residency is supported by The Rangoonwala Foundation and the Charles Wallace Pakistan Trust.



Rameesha Azeem lives and works in Pakistan. She recently curated and organised a group show A site for sight collateral for Lahore Biennale 2020, she was a part of group shows Of the Moments, Contemporary 12.0, Islamabad, Pakistan, 2020; and Musalsal, Alhamra Arts council, Lahore Pakistan, 2019. She holds as visual art degree from Beaconhouse National University in Lahore.