February 16, 2002

Riazushan Rafi has literally set his fingerprints in the world of art. In 1996, unable to get the impressions that he wanted, Rafi used his fingertips. The result was so impressive that he switched to painting with his fingers. Rafi says, “This brings a new power and passion. When you walk barefoot on earth or grass you feel the energy that energizes you as well. Similarly, working with my fingers I feel the energy of the paints and I am also energized. Brushes lack the feelings and the emotions that I want to express.”

Born in a conservative family, Rafi’s childhood was far from happy. His father, Rafiushaan, was unable to understand the yearnings of his restless, rebel son. He was punished harshly for his failings in school and his habit of breaking objects. His fondness for drawing on the walls earned him the wrath of his teachers. But not everyone felt that way about his art.

In 1978, Rafi stood second in a Sindh drawing competition, and five years later, won a top prize and a cash award of Rs10,000 in an art competition of Balochistan. The money helped him buy the much-needed brushes, paints and an easel. Returning to Sukkur, Rafi set up a tiny studio and started painting seriously, working in acrylics and oils. He regularly read a weekly art column ‘Tasveer aur Mussavir’ (Painting and the Painter) by Shafi Aqeel. “Reading that made me aware of the wonderful world of art and artists,” Rafi reminisces. He studied the works of the masters and copied some. Ahmed Parvez’s paintings simply fascinated him.

In 1986 his enthusiasm and work helped him find a resident internship under Ali Imam at the Indus Gallery. Ali Imam advised him: “Never copy others, create your own.” Rafi was in awe of artists who visited the gallery, among them Guljee, Rabia Zuberi, Naheed Raza, Bashir Mirza and Mansoor Aye. And then one day, Ali Imam introduced Rafi also as an artist. Rafi enthuses, “That was the happiest day of my life!” Later, he worked and “learnt much” at Guljee’s studio.

Rafi is forever experimenting. His rhythmic strokes, bold colours and well thought-out themes have helped him mature as an artist. His semi-abstract-impressionist work, collage and calligraphy have established his artistic credentials. His four solo exhibitions: Rhythm of Stroke, Faces, Sex Workers and Stream of Consciousness were well received. He acknowledges Ali Imam as “my mentor, who even taught me how to sign my name on the paintings.” His only regret in life is that his father maintained a distance and never showed any pride in his achievements. “To please my father, I used his name (Rafi), rather than mine (Riaz),” he concludes with sadness.