My practice revolves around the themes of colonialism, post-colonial societies, racialized inequality, institutionalised racism, subordination, dependency, belonging and not belonging, capitalism, and the ideas of feminism. Subjects of hybrid identities and identity crises are also prominent themes in my practice. I am also interested in sociology and psychoanalytic perspectives.
In this journey of inquiry and exploration, many artists inspire me with their ideas, techniques and artistic productions. My fascination with the works of Shazia Sikander, Isaac Julian, Yinka Shonibare, Kara Walker, and Risham Syed is inquisitorial. They inform the audience essentially on the themes of colonialism, black slavery, black identity, capitalism and feminism.
My practice originates from twentieth-century modern collage styles and evolves into a diverse range of alternative techniques, assemblage and found objects combining contemporary influences. It also encompasses traditional types of printmaking, entailing new methods and experiments. Currently, my practice is expanding into different media, such as ceramics. Also, having seen Shazia Sikander’s latest kinetic animations, I am inclined to do animations.
My practice employs unorthodox mediums and visual arts processes such as layering and digital collage. I have just explored assemblage, where collage marries the third dimension to allow unlimited possibilities. I also employ the fascinating process of image transfer in my practice, wherein I transfer images on surfaces such as mirrors, porcelain and clay.
Additionally, I use alternate materials to support my investigation. For example, I experiment with fairness and tanning creams to investigate their reaction on paper and use a range of cosmetic pigments of different skin tones to create my inks. I also experiment with the intaglio process. Lately, I have been working with the technique of Chine Collé.
Sana Burney is a master's in Fine art from UCLan - University of Central Lancashire, UK. She has taught for over 12 years and is currently on the Indus Valley School of Art & Architecture faculty. Burney has presented her research papers on art and design in Turkey, the USA and Pakistan. She has also done large scale public art projects in Karachi and Larkana. Karachi's public art project of 'FTC Bridge Beautification' is an example of beauty and nationalism.
In 2021, she participated in Jade Montserrat's project of mural drawing at the UCLan, Preston, UK.
Burney's art practice revolves around the themes of colonialism, post-colonial societies, racialized inequality, institutionalized racism, subordination, dependency, belonging and not belonging, capitalism, and the ideas of feminism. Subjects of hybrid identities and identity crises are prominent themes in her practice. Besides she is also interested in sociology and psychoanalytic perspectives. Her practice originates from twentieth-century modern collage styles and evolves into a diverse range of alternative techniques, assemblage and found objects combining contemporary influences. It also encompasses traditional types of printmaking, entailing new methods and experiments.
My four line copy
Post-colonial societies practice discrimination based on skin colour and linguistics owing to irrational opinions and beliefs. Additionally, some false opinions and beliefs categorise people of dark skin and their use of language with a particular class in society. The work ‘My four-line copy’ reflects generalised opinions and behaviours that deepen the class system and establish concepts of inferiority and insignificance.
The artwork explores the subject of the slave trade during the East India Company's (EIC) rule in the Indian Subcontinent. The artwork uses the found image of a banknote issued for the British Raj under King George V of the United Kingdom, Emperor of India. The image shows King George V looking at the statue of a black woman.
Little Henry and His Bearer
The work depicts Virgin Mary's image with the baby Christ and highlights female servants' role as custodian mothers and wet nurses during the British Raj. It also idealises racial dichotomy by using a black bearer with unimaginable love for a white child and vice versa.