In the same innovatory spirit her personal art practice as a sculptor continued in tandem with her professional commitment. Recently honoured with a Pride of Performance by the state and a retrospective show of her sculptures, drawings and painting sat the VM Gallery, Karachi, Zuberi spoke of her experiences as educator and artist.

Can you describe the art environment of the '60s?

Karachi School of Art was the first art school of Pakistani origin unlike NCA in Lahore which was a pre-partition British institution. As an art institute KSA received a good response from the middle class in Nazimabad, but aesthetically the environment was bleak in Karachi because only a very small minority understood the language of art. People were anti-sculpture but I persevered. The first exhibition organised by the PACC comprised 50 pieces of my sculptures. It was billed a 'stunning show' and art critic Sultan Ahmed wrote, “She refused to be defeated,” regarding my persistence to continue against all odds.

Which was your most challenging series?

My work is not planned; it evolves from my emotional reactions. The early formative years of living in a newly independent state inspired me to create a white, six feet tall sculpture that personified hope ('Umeed'). Likewise, restrictions on art during Zia ul Haq's era prompted the 'Dupatta' series where I portrayed the veil as a natural part of form and not as a mandatory external covering. My 'Labour' series developed when I was personally supervising the construction of KSA building.

What is your perception about contemporary sculpture in mix and multi media, and how does it influence your art practice?

The classical element in the arts has always endured whereas contemporary populist trends are momentarily engaging but do not have timeless appeal. I relate to the established traditional norms and adopting new media techniques will be against my nature and hence not a true inner expression.

A pioneer artist's works have archival value and should be housed in art museums, so why do we see your work up for sale at VM Gallery?

I entirely support the idea of building national collections for posterity and readily gave my mega sculpture 'Quest for peace' to the National Gallery at their suggested price rather than sell it internationally for a considerably higher amount. The VM Gallery sale is to prompt collectors to play their role in building collections for future generations.

How do you rate the performance of new generation artists?

As a college principal I have seen over the years that there is immense talent in our youth. While boys are more computer-oriented today, I feel girls have the seriousness to pursue art in depth. Unfortunately many talented girls have not been able to realise their potential because cultural taboos, lack of parental support and shortage of art facilities and gallery encouragement have impeded their progress. I also want to emphasise that artists from all institutions should be treated alike on the basis of talent—group politics is unhealthy.

Any words of wisdom or message for the younger generation?

The guiding force of love balance, confidence and tolerance has enabled me to realise my potential, not just as an educationist and artist, but also as a human being among family, friends and society at large. This is my recipe for success in life.