Share this story!            

Picasso’s daughter-in-law judges Pakistani talent

By Zainab Imam

KARACHI: Art legend Pablo Picasso’s daughter-in-law Sydney Picasso was invited to Karachi to judge a school art competition. Daily Times met up with her on Tuesday to talk about the experience and what she thought of Pakistani students.

Sydney is a member of the International Council of Tate Gallery. She has been living in France since 1967, working as a museum curator and researcher in the field of archaeology. She was invited to Pakistan by Unilever Pakistan Limited that recently organised its sixth International Art Project for Schools and asked her to be the chief guest and judge at the competition. “I was delighted at the opportunity as I am interested in artists from any and every period,” Sydney told Daily Times at the conference hall of Unilever’s office at a local hotel.

The contest had three categories for entry: five to 10 years, 11 to 14 years and 15 to 18 years. Selected pieces were exhibited at a two-day exhibition at Karachi and then forwarded to the UK for final international judging.

Daily Times: What did you think of the contest and the participants’ works?

Sydney Picasso: I am thoroughly impressed by their work, especially the photographers. Though there were only two, their work was world-class. These young artists are talented enough to distinguish themselves on any global platform.

DT: How would you describe your experience of judging the competition?

SP: I am amazed at how much my co-judge, Shehnaz Ismail, and I had in common. We had never met and we come from really different backgrounds. Yet, we were in agreement on every single artwork, looking at the same things and had the same choices. The schools themselves selected the pieces before they were brought to the competition and I felt a sort of harmony even with these pre-selectors!

DT: Like everything else, art has also evolved in recent times. What would you say about that?

SP: Contemporary artists are using all sorts of unusual things to express themselves, from fishnets to mother’s milk. [She appreciated the fact that this competition had not limited the students to using the traditional canvas and paint and the committee had told the participants to express themselves using any medium]. That’s great because things have really changed now, everywhere around the globe.

DT: What would you say about the standard of teaching methods being used in Pakistan?

SP: In international art forums, we really don’t look at how you’re teaching art, it’s about the results. If the product is good, then the method of instruction is obviously working. The work is excellent over here and I think that itself is testimony to whether art is being taught well or not. Pakistani children are doing art just the way any other children that I have seen around the world. The 18-year-olds were being taught using videos and they’re using very good programmes such as Prologic etc. The way the projects were edited and manipulated was very professional.

DT: How did you get involved in archaeology?

SP: I grew up in the US and went to Paris to study French. But, I kept feeling this urge to go back to my own culture, so I pursued North and South American pre-history and did my fieldwork in Brazil, initially concentrating on pre-historic rock art. But then, ... I ended up doing Mexican Archaeology instead of rock art.

DT: Does Pakistan pique your archaeological interests?

SP: Absolutely! I wish my visit was long enough to go see the northern areas for their rich deposits of rock art, and Moenjodaro for its links to the Indus Valley civilization. Archaeology is like a book; once you’ve started, you have to finish it. I want to come back to Pakistan to finish it. I am looking forward to my visit to the historical delights that Lahore has to offer.

DT: What were you expecting before your arrival here?

SP: I am not fond of talking about political and social issues. For me, art is a healer and I am only interested in its effectiveness as a tool to educate people, to vanquish hatred and bring human beings closer. I believe that if you think something evil will happen to you, it will. I did not come with any preconceived notions, but Pakistan is a US ally, so I didn’t think it would be a place where I would feel unsafe.

DT: How do you like the city by the sea? Have you been able to visit any places?

SP: The only view I have had of Karachi is from the rooftop of the hotel and I am fascinated by what this city boasts. My friends asked me what the city looked like, was it like Alexandria in Egypt, or some place like Turkey? I told them there’s a port, and then there’s the old city and the long avenues and it’s very beautiful when you land.

DT: You have co-authored a book with Claude Baudez, called “The lost cities of the Maya”, which consists of hundreds of color photographs and illustrations, along with a brief guide to Mayan arithmetic, their calendar, and inscriptions. Please tell us something about the book.

SP: The Mayan Civilization is very exotic, almost super developed. Our work concentrated on Mayan research in the nineteenth century, and focused on trying to decipher texts that were considered depictions of dates and other information. We did a lot of exciting work, particularly the research that we conducted at archaeological sites and libraries; we actually searched original documents.

DT: What would be your message to young artists?

SP: Learn your craft, whether you want to draw or paint or sculpt. Study the masters who have come before you, and their works. Much of their talent can come into your life through osmosis. Just look at things, a butterfly, a pool of water, a child’s face...and you will be amazed at what you can express. And if you have difficulty portraying or describing what you see or feel, just use your imagination - a straight black line can mean so many things: don’t be discouraged by lack of ability - or technical problems...it all works if you’re inspired, and your message will come through. *

Home | Karachi

Share this story!