Aklima Iqbal

My preferred artistic medium is…
… primarily painting but I don't limit myself to a medium. I choose the medium based on the demand of each project, and I am also always experimenting with new techniques. I used to work with acrylic, but now I often combine acrylic and oil, as well as spray painting and airbrushing. Recently, I´ve been exploring textiles such as wool and sewing into my work. I want to explore how textiles can emerge from objects, walls, or other surfaces, creating a sense of connection. It’s still the beginning of this process, but I’m excited to develop it further. I find that each medium evokes different emotions and experiences.

My art in three words…
I am alive when I paint. In those moments, I don’t just exist—I become. In the quiet of my studio, time disappears—only creation remains. My spirit speaks—not only through color, but through every brushstroke, every silent word. My art is my life. It holds everything I experience, see, observe, and feel. When I paint, I try not to overthink—I strive to let go, to be free. Yet, subconsciously, all my experiences and observations find their way into my work.

A recurring theme in my work is…
… order and chaos—how fragments of both coexist within a single space, as shown in my diploma project last year. My work also reflects my experience as a migrant artist from Bangladesh—my culture, my language, and my identity—and how I’ve adapted to a new culture and language. This process of cultural transition and integration has become central to my practice, highlighting themes of identity, transformation, and the freedom of self-definition. I investigate the construction and deconstruction of everyday forms, aiming to release them from fixed ideological frameworks. My work weaves together absurd narratives and ambiguous contexts, guided by intuition and a deep curiosity about human communication and behavior.

I draw inspiration for my art from…
… nature, objects, human, observation, readings, movies, and music. When I paint, I always listen to music, and I also write. I call it ”word drawing”— it’s not meant to be a traditional poem but rather a collection of words that come to mind as I create. These words form abstract compositions, like a language made of a visual alphabet, a system of symbols, words, and forms that communicate beyond traditional boundaries. In addition to painting and writing, I create objects that are connected to my paintings. My diploma project combined objects with paintings, creating a seamless flow from the floor to the wall, forming a continuous line. I enjoy exploring concepts like infinity, borders, and lines—they can evoke landscapes viewed from above. One example was a 10-meter-long painting that allowed viewers to move through the space, immersing themselves in the flow of the artwork.

The feedback that has influenced me the most…
Ashley Hans Scheirl once told me to keep doing what I’m doing and to trust my own approach—advice that has always encouraged me to stay true to my artistic voice. During my first year in the drawing class, Veronika Dirnhofer advised me to focus more on observing what I see and translating that directly into my drawings. That guidance has stayed with me ever since. Gerlind Zeilner also gave me valuable insight. She noticed that I didn’t enjoy having my work compared to that of famous artists. She reminded me that people make comparisons because they’re familiar with those names, but I shouldn’t let it affect me—I should just continue doing my own thing.

If I could give advice to other emerging artists, it would be…
… don’t compare yourself to others or worry about their recognition or success. Stay focused, keep working, and trust that your time will come when it’s meant to. I’ve been serious about art since I was eight years old. That’s when I decided I wanted to become an artist. I started taking art lessons with two teachers and participated in every competition I could find. Winning awards, both locally and internationally, gave me motivation and confidence. When I realized that I could study art and be an artist as a profession, I made it my sole focus. I’ve always been determined to keep creating, no matter the circumstances and I never let others’ opinions affect my work. I believe in giving my audience the freedom to interpret my art however they want, but for me, it’s about what I personally gain from the creative process.

The transition from studying to artistic independence means to me…
I find it really difficult; I still miss my university studio. It had a unique energy for me, and I spent all my time there, working day and night. My professor, Despina Stokou, used to joke every time I finished a new painting series, saying, "Aklima, you need a boyfriend! You need to get out of the studio!" Now, I understand why she said that, but I truly love working. Back then, I thought more opportunities would naturally come my way. At the moment, it feels quieter, and being independent can be a bit scary. The academy was a safe space—a supportive environment where I felt encouraged. I’m so grateful to my professors, Ashley, Veronika, Despina, Alice, Ruby and others, for their constant motivation. After my time in the studio at the Creative Cluster, I’m unsure what’s next. But I know it’s important to keep going and to stay motivated. I believe that times will change again, and no one can stop me. I have so many plans for the future, and I’m determined to see them through.

My greatest artistic achievement so far...
One of my most significant achievements was completing my diploma in 2024.In 2023, I was nominated for the Ö1 Talent Scholarship. In 2022, I was nominated for the Stiftung Vordemberge-Gildewart award and exhibited at the nominees' show at MUMOK, Vienna. Same year I participated in the group exhibition “Soft Machine,” a collaboration with the Austrian Pavilion at the 59th Venice Biennale, organized by Phileas, alongside Ashley Hans Scheirl, Jakob Lena Knebl, and their students. In 2021, I received the Füger Prize from the Academy and was awarded the Dean of the Faculty of Arts Award at the 1st International Print Triennial (2017) in Cieszyn, Poland, for “In Search of the Impossible.” My work has been exhibited both nationally and internationally, helping build my presence in the contemporary art scene.

My studio in the Creative Cluster is a place where…
… I can fully express myself, immerse in my creativity, and feel completely at ease. It’s not just a workspace—it’s where I live my passion and feel truly happy. The studio is bright and beautiful, and it’s my favorite place to be.

An artistic idea or project I'm excited to realize…
I would love to continue working with textiles and perhaps explore tufting in the future. I’m also drawn to creating larger-scale paintings, as they offer a greater sense of freedom and allow for more expansive exploration. Smaller works often feel restrictive, providing less room to experiment. I’m eager to push boundaries further and see where this journey takes me. I deeply enjoy the freedom to think outside the box and challenge conventional approaches in my creative process.