Sahana’s Way to the Stars: Katha O Maatram (Stories of Becoming) Review

REVIEW | ARTS | MATARIKI

Written by Sanskruti Banerjee (she/her) | @san._.banerjee | Contributing Writer

Review of exhibit: Katha O Maatram (Stories Of Becoming) by Sahana Rahman | @shannyszn

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Katha O Maatram is a piece that breaks the conventional, challenging many implicit stereotypes in South Asian society. Additionally, it serves as a mirror to the artist - to Sahana Rahman’s soul. It has been an honour both as a good friend of Sahana’s and a writer to critically analyse the autobiographical fragments of this piece. It shows her way to the stars, which resembles the community, strength and peace she found at the current stage in her life. 

The project took shape over five months of inner reflection and deeply rooted introspection on societal issues that personally impacted the artist’s life. There is meticulous attention to detail in terms of the paintwork and artistry, inspired by the Mughal miniature style of painting and surrealism. The repetitive nature of elements, occult musings and more are depicted through matte acrylics. Rahman successfully executes a series of art frames that read chronologically and depict the struggles and highlights of her life. 

What strikes me is how the artist weaves a tapestry of rich heritage, while presenting a realistic analysis of the detrimental impacts of colonisation, false characterisation contributing to identity crisis and how our loved ones influence how we perceive ourselves. As a fellow half-Tamilian and half-Bengali, being able to witness the intricacies of our culture through intricate and detailed paintings truly resonated with me. How fitting that historically, Bengalis were recognised predominantly for their tenacity during the era of freedom fighters, for dance, for writing and art. To me, Katha O Maatram centres around the idea “one must always return to oneself, no matter the curves life throws at them.” 

Much like the moon, the artwork proceeds through phases of enlightenment and transition. The following sections take a deep dive into these phases and their respective representations. 

PHASE ONE 

The artwork begins with a portrayal of Rahman’s higher self. There is a duality herein; this is not just who the artist is aspiring to become, but rather a being that has already existed within her. The significance of her being ‘ready to bloom’ is heightened by her seat - a lotus flower. Occupying an auspicious symbol of Indian culture and mythology, the lotus also serves as the national flower of India. It is a symbol of enlightenment, rebirth and spiritual awakening. The flower emerges from mud to bloom in the water, which foreshadows the artist’s rise from adversity. Rahman faces forward towards the upcoming scenes, a sign she is (expectant) of the (inevitable) life experiences to come. The setting is Newlands, Wellington, where Sahana was brought up with Mount Kaukau and harakeke to complete this canvas. The harakeke holds a particularly special place in the artist’s heart as it centres around a waiata sung at her primary school - He tangata, He tangata, He tangata.”

PHASE TWO 

As the artwork progresses, the viewers are then able to see the artist’s heart growing and violets present. Violets here resemble queer pride, appearing multiple times in the poetry of Sappho and other writers. The uterus here resembles an anchor weighing the artist down, alluding to her struggles with PCOS. Through the thorough detail implicit in the natural backgrounds, there is a hidden figure of a woman in the rocks lying down and spreading her legs as the artist’s ex-lover is in the water looking up. Allusions to the calm before the storm exist in the colourful elements of the artist’s childhood. The figure of an angel in the sky is Rowena, the artist’s god grandmother - a prominent life figure who had an abundant garden and wished for the artist to “grow as tall as a sunflower.” The waterfall reaching heaven sits as a parallel to the Stairway to Heaven analogy, with the following phases showcasing how this sanctity can be disturbed in a minute’s glance. 

PHASE THREE 

Light to dark sits as a metaphor here, with the colours of the paints visibly transitioning. The highway signifies that life began to move extremely fast - the sprawling urbanscape of Wellington and people under the bridge acting as the epitome of being alone, of being homeless. Where to find home, other than in oneself? The idea of death and darker meanings are hinted at, and the number 18 on the tunnel, which is when things took a haunting turn for the artist as she had to face homelessness and her traumatic past with men. 

PHASE FOUR 

Chaotic and indescribable, this scene, through its wit, serves as a depiction of colonisation. Through the British, Dutch, Portuguese, Persian and Mughals, through the various animals, through the splattered blood - this is the mayhem many countries faced. There is an irony present in the artist’s attire at the end, as she is in Western clothes, contrary to the depiction of her higher self on the lotus at the start in a sari. Perhaps more than a direct representation of colonisation, it also showcases the complex immigrant journey of finding home away from home, and the sacrifices we must make to achieve this. The footprints turn from a solid brown black to red, almost as if the artist has bled out to get to where she finally needed to be. The light at the end of the “tunnel.” The bear directly behind serves as an anecdote to the “man or bear” analogy, as if the bear were the one to pick up the pieces of a past man left scattered. 

PHASE FIVE 

The sun shines in this scene and has the patterning of the solar plexus chakra - in Hinduism, this is associated with personal power, self-esteem, confidence and willpower. It is a representation of vitality and the energies needed to manifest your goals, moving forward with both courage and determination. This same sun guided the artist to art school. If you look closely, this same chakra is mimicked on the Nokshi Katha table in the final phase of the artwork. To me, this symbolises the artist’s chosen family being present in the abundance of that vibrant and meaningful energy.

The use of the colour red is a tap towards the deeply rooted anger and frustration the artist felt through their traumas. This was discovered through EMDR therapy, where the artist described her aches as a red beating light. I think this showcases the ever-present nature of anger - oftentimes it sits like a beating drum in our chests, hands held with the emotions of confusion, frustration and betrayal. But what we fail to realise is that anger has immense power to change people. 

PHASE SIX 

The final scene has an umbilical cord showcasing complexities in the relationship of mother and daughter, but the cord dives into a deep blue. Nature and Mother Earth always served as grounding factors for the artist. We reach the end, where the artist is hosting a Nokshi Katha workshop - an ode to Auckland being her newfound home for creative awakening. The animals are of Klous, with the turtle being the artist’s partner’s spirit animal. There is also the beautiful signifying of a complete ending as Rahman’s armour, though still on, still wishes to gift a flower to Kripalee, her partner. Throughout the creation of this piece, a blackbird consistently peeked through the artist’s window - perhaps a spiritual guardian, keeping Rahman steady as her heart was poured into paints. It shows queer joy with portrayals of non-binary and the artist’s Bangladeshi trans friend Shomudro, depicted playing the sitar, a classical instrument. The horse resembles equine therapy, and the snail was off an intuition. It hints at an intentional nature in the slowed pace of the art from a hectic, chaotic and boisterous scene before this.