Tell us a bit about your background and how you got started in art.

I come from an Afghan background, but I grew up in Canada after my parents immigrated when I was three. Visiting Afghanistan when I was 12 really sparked my awareness of my hyphenated identity, which influenced both my studies and the development work I pursued later on.

My art journey began during the pandemic when I was laid off and started exploring digital art. I came across South Asian art pages online and noticed a lack of representation of Afghan culture. I taught myself digital illustration and started sharing my work on Instagram, which led to collaborations with organizations like the BBC and now Ziba Foods.

Can you talk us through the steps you took to create the holiday design for Ziba Foods?

The process began by reflecting on the natural and cultural heritage of the fruits and nuts that Ziba offers. I brainstormed which elements to illustrate—raisins, mulberries, figs, almonds—and incorporated symbols of Afghanistan, like common flowers. This set the foundation for a beautiful cover design.

The challenge was finding a balance between traditional influences and a modern twist to appeal to today’s audience. A breakthrough came when we shifted from abstract representations to illustrating the actual products Ziba offers. This made the design more meaningful, reflecting the contents inside and creating a special connection between the box and its contents.

Were there any personal memories tied to eating nuts and dried fruits with your family that influenced your design?

Absolutely! Nuts and dried fruits were always part of family gatherings, especially during special occasions like Nowruz or Eid. They symbolize community and togetherness, which I wanted to capture in the design. The idea of sharing these snacks while telling stories really influenced my approach—it’s nostalgic, but also aligned with Ziba’s mission.

How does your identity influence your approach to your work?

My identity plays a huge role in my work. When I create independent pieces, I often draw inspiration from Afghan photography and imagine the stories behind the images. For the holiday box, I explored Afghan textiles, which was a new direction for me since I usually focus on faces and people. It was fun merging cultural and product-based designs. I’ve also carried with me my roots in development work, which has taught me to understand and respect community needs. This perspective shapes my art and reminds me to represent Afghan culture authentically and meaningfully.

How do you see the overlap between your development work and your art?

A big part of my education focused on sustainable, community-based development—ensuring what you do is truly beneficial. Too often, there’s a mismatch between what communities need and what donors provide. For instance, I’ve heard stories of communities needing toilets and being given iPads instead. This disconnect influences how I create art for Rasmorawaj. I strive to show joy and positivity in my work, but I’m also aware that not every story is happy. When the Taliban took over, I illustrated a girl reflecting on the loss of her education, capturing both frustration and resilience. My art highlights the incredible resilience of the Afghan people.

In what ways do you see art as a way to preserve Afghan culture, especially during these turbulent times?

That’s a really thoughtful question. Honestly, I don’t fully identify as an “artist” in the traditional sense, as I never formally studied art. My journey started during the lockdown when I began working digitally. So, I see myself more as a digital illustrator. Historically, though, art—whether through poetry, painting, or other forms—has always been integral to Afghan culture, especially for women. It’s been a way for them to express themselves, even when other avenues were restricted. While I may not be a traditional artist, I believe digital art can still tap into that larger cultural conversation.

Are there any traditional Afghan techniques or motifs that you regularly incorporate into your work?

Afghan textiles have been a huge influence, especially since I started experimenting with digital tools. One of my favorite pieces, Lapis Dreams, was my first exploration into textile-inspired art, and that influence carried over to the Ziba holiday box design.

What do you hope people take away from your collaboration with Ziba, and from your work in general?

The collaboration with Ziba was really special. It was exciting to see how two seemingly different worlds—art and a dried fruit and nuts business—came together in such a meaningful way. I hope people will support Ziba because they’re doing something truly amazing, and the art is something you can keep! Whether people admire the art or enjoy the products, I hope it showcases the beauty of collaboration.

For my personal artwork, I want people to look beyond the surface and recognize that Afghan culture is much more than what’s often portrayed in the media. There’s so much richness, beauty, and depth that’s often overlooked. If people can appreciate that, I think life becomes more beautiful and meaningful. My goal is to spread positivity and highlight the beauty of Afghan culture.