There is a quiet intensity that defines the work of Sana Obaid, where material, process and emotion are held in careful balance. Rooted in both formal training and lived experience, her practice moves fluidly across disciplines, guided as much by intuition as by method. From early foundations at the National College of Arts in Lahore to postgraduate study at the Mariam Dawood School of Visual Art, and most recently an MFA with Distinction from The Glasgow School of Art, her journey reflects a sustained commitment to both technical rigour and conceptual depth.
At the core of Obaid’s work is a deeply process-led approach, shaped by an ongoing dialogue with materials and an attentiveness to their inherent limits and possibilities. Influenced by Sufi philosophy, traditional miniature painting and the rhythms of repetition, her practice unfolds as a form of active meditation, where making becomes a means of transformation and release. Themes of motherhood, spirituality and the feminine are woven throughout, often holding a delicate tension between grief and tenderness, intimacy and resilience.
Working between her home studio in Glasgow and a shared printmaking environment in Preston, she navigates a balance between solitude and collaboration, reflection and production. Her evolving body of work explores the idea of the Divine Feminine as both an embodied and ecological force, drawing connections between maternal experience and the intelligence of the natural world.
In this interview, we explore a practice that is at once deeply personal and universally resonant, where storytelling emerges through process, and where each gesture carries the weight of memory, presence and care.
Are you self-taught, or did you undertake formal artistic training?
Art has been my companion since childhood, as I followed in the footsteps of my father, who is also an artist. My formal journey began at the National College of Arts, Lahore, where I completed my BFA (2003-2007). I later pursued an MA in Art and Design Studies at the Mariam Dawood School of Visual Art, BNU, Lahore (2013-2015). Most recently, I completed my MFA with Distinction and the Chairman’s Medal from The Glasgow School of Art, UK (2022-2024).
How would you define your visual language or conceptual approach?
My visual language is in a state of constant evolution, deeply rooted in the materials and processes I employ. I view every step of the making, from the choice of medium to the specific technique, as a fundamental part of the conceptual framework. Every material carries its own inherent limitations and challenges; I treat these as a dialogue that shapes the final work. By thinking carefully about the ‘how’ and ‘what’ of my materials, the process itself becomes a significant contributor to the narrative I am building.
Can you describe your creative process from conception to completion?
Deeply influenced by my Sufi lineage and training in traditional miniature painting, my creative process typically begins with a visceral feeling, an emotion that has either consumed or settled within me over time. I take an intuitive and exploratory approach, working open-endedly across disciplines to find the right language for the material at hand. While the outcomes vary, what matters most is the act of making. Through the process, I move the energy stored within and around me, arriving at a state that is joyful, centered, and relieved. In this way, I consider my artistic practice to be a form of active meditation.
Does narrative, symbolism, or storytelling play a role within your work?
I believe that no work is devoid of story. In my practice, I am compelled to share a personal perspective on life with the world, grounded in the belief that everything is interconnected. My narrative is never isolated; it is designed to find common ground with the viewer, perhaps by resonating with their own history or by offering a contrasting window into a shared reality.
Which artists have most influenced you historically or contemporarily and why?
I am profoundly inspired by artists who prioritize a process-driven and meticulous approach to making. I greatly admire Doris Salcedo for her powerful materiality, as well as Susan Collis, Vija Celmins, and Cecilia Vicuña. What draws me to these artists is their use of repetition and intimacy, the sense of a ‘silent conversation’ between the artist and their materials. Their work resonates with my own inquiry into the feminine, emotional authenticity, and the intelligent use of material to hold deep, purposeful intent.
What personal, cultural, or environmental influences shape your practice?
My practice is deeply shaped by my lived experience as a mother, my Sufi inheritance, and my upbringing within the patriarchal structures of Pakistan. Becoming a mother shifted my perception profoundly, making questions of care, vulnerability, and protection feel urgent. My work often holds the tension between grief and tenderness, a quiet hope rooted in maternal love. Growing up in a Sufi family, I learned to view creativity as inseparable from spiritual inquiry; I approach making as an ‘attentive presence’ where repetition and gesture become forms of remembrance. As a South Asian woman, my work also serves as a process of ‘unlearning’ the internalized whispers of obedience and shame that cultural systems can impose. Furthermore, nature and landscape ground me, not as subjects to be depicted, but as spaces for listening and relating to the unseen energies and memories held within materiality.
Where is your studio based, and how does the space inform your creativity?
I currently maintain a dynamic practice between two locations: my home studio in Glasgow and the Artlab Contemporary Printmaking Studio (ACPS) at UCLAN, Preston, where I am currently an Artist Fellow. My Glasgow studio is a place of solitude, primarily dedicated to research, sketching, and the initial development of ideas. In contrast, the environment at ACPS provides a collective energy that fuels me during production. I find the balance between quiet contemplation and the vibrant energy of a shared artistic space essential to my creative rhythm.
Do you have any rituals or rhythms that anchor your studio practice?
Rhythm is the cornerstone of my practice. I am drawn to slow, repetitive, and long-durational processes that allow me to settle into a state of ‘presence.’ Through repetition, I enter a flow where the work begins to guide me and decisions become intuitive. I require silence and slowness; I often spend time simply sitting with a material, observing my breath and intention. This practice of returning again and again, with patience and trust, serves to gather my scattered energy inward. The physical movement of the hand& body and the labor of repetition quiet my mind, opening a space for reflection and grounds me in the present moment.
What bodies of work or projects are you currently developing?
I am currently exploring the Sacred or Divine Feminine as both an embodied and ecological force, influenced by eco-feminist scholars like Vandana Shiva. I am interested in how feminine perspectives can restore a sense of reciprocity between humans and the natural world. Motherhood has become a vital lens for this inquiry, allowing me to draw parallels between the maternal experience and the ‘nurturing intelligence’ of the Earth. I am developing a body of drawings and etchings created outdoors, where the act of making is an exercise in grounding, a way to listen to and feel the Earth as a maternal body. Ultimately, the aim is to find ways to awaken love, elevate consciousness, foster reflection and reconnection in a time of global crisis through my creative practice.
Where can collectors encounter or acquire your work?
Collectors are invited to explore my work through my website or via Instagram. For inquiries regarding available pieces, commissions, or collaborations, please feel free to reach out directly through either platform.
