The Artbridger Sponsorship Program reflects a commitment to supporting artists beyond commercial transactions, offering the infrastructural backing, critical mentorship, and international mobility required for long-term career longevity. Operating as an incubator for artistic practice, the initiative connects artists with established curators, critics, and market professionals to refine their work, articulate their critical narratives, and navigate complex institutional frameworks. By facilitating access to global residencies, curatorial site visits, and group exhibitions alongside dedicated editorial profiling and critical writing, Artbridger ensures an artist's practice is documented with rigor and presented thoughtfully to global audiences, prioritizing sustainable creative autonomy over immediate market turnarounds.
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Umaina khan is a karachi based multidisciplinary practitioner, holding a bachelors degree In Fine arts from Indus valley school of art and architecture. Primarily known for her vibrant palette and exploration of the female form in relation to "Male gaze."
Participated in several national and international shows, her recent Solo show "THE BODY BAKERY" was a satirical commentary on objectification of the female body, followed by two art performances "Candy Lady" and "Candy Shop"
Umaina curated the first culture festival in pakistan in 2024
Besides her art practice, she is an art teacher at AIFD and IVS.
About the artist
In this body of work, I am discussing the idea of dominant perspectives about a female body by the majority group within our society, observing and desiring women as objects of pleasure which almost dehumanises the body. This perspective tends to reinforce traditional gender roles and norms, reducing women to passive, decorative objects rather than fully developed characters with power and individuality.
Objectification of a female body represents no value but simply focuses on appearance and sexuality. Women are frequently depicted in ways that emphasize their sexual appeal and caters to the “majority gaze” more particularly, “male gaze.” My female figures are opposite to what you would perceive a woman to be, it critiques the idea of body perfectionism and allows women to be different, flaw-full and unapologetic.
