1. Could you introduce yourself?
I was born and raised in a small rural town in Western Maryland, on the East Coast USA, along with my three siblings. My parents came to the United States from Pakistan and settled there in the mid 70's. We grew up in an area mostly consisting of an elderly Caucasian population, and a small South-Asian population. I moved away when I was 17 years old to attend college at the George Washington University in Washington, D.C, where I graduated with a Bachelor in Fine Arts, and Minor in Biology in 2000. I then completed my graduate architecture studies at The New Jersey Institute of Technology in Newark, NJ, earning a Masters of Architecture degree in 2005. I currently live in the Washington, D.C. area, where I manage my own architectural design business called "NJArtitecture," and freelance as an artist. My creative work can be seen on my website, www.njartitecture.com.

2. When and how did you decide to be an artist?
I've always instinctually been drawn to art since I was a child ~ painting, drawing, sketching, photographing ~ but it wasn't until I was in Graduate Architecture school that I actually started exhibiting my art work, and saw myself as an ‘Artist,’ as in someone who defined her life by her art. It's really only been in the past four to five years that I've spent a considerable amount of energy networking and marketing myself as an Artist, and become more educated in the "business" of being an Artist.

As I reflect back, I first exhibited my artwork to an exclusively Muslim audience in the 2006 Art Exhibit at the Islamic Society of North America Conference, held in Chicago, IL. The response there was phenomenal, and so encouraging. There definitely existed a yearning for the arts, something I think which is inherent in being part of a religion that emphasizes beauty from all of our senses, and intention before all of our acts. Being part of a Muslim community, and greater global community, I saw the need to be a living example of how art and artistry could be a legitimate career choice, and even a noble profession, in which you could achieve "success," success of course being defined by your own terms, and not always in worldly terms. There are definite struggles that come with it, just as any struggle that comes with following your heart, and your passion, but the peace that comes from knowing you're contributing to the world by using the best of your talents and skills makes it so valuable, and worth it.

3. What are the artists that affect you?
Some of the older traditional and abstract artists that have influenced me are Arthur Dove, Leon Spilliaert, Henri Rousseau, Paul Klee, Andrew Wyeth, Claude Monet, Jamil Naqsh, Ansel Adams, Emmet Gowan, Robert Frank, and Georgia O'Keefe. More contemporary artists and photographers that have been just as inspiring include Salma Arastu, Madny Al Bakry, Tomas Nakada, Daniel Abdal-Hayy Moore, Peter Sanders, Kinda Hibrawi, Matt Mims, Vaseem Mohammed, and Shirin Neshat. This list doesn't include, of course, the amazing host of artists and photographers that move me through art-related websites such as Deviant, Flikr, and Tumblr, for example. I do spend my share of time at local art galleries, and on-line sites researching and reading about other artists, which always expands my mind, and my inspiration.

4.  What are some of the challenges associated with being a Muslim artist?
I've often been asked this question in interviews, and I'll repeat some of the points that I've made before. A particular struggle which I’ve definitely had to deal with in being Muslim, and an artist, has been with family and community, and working with their attitudes towards the place of art in culture and faith, its legitimacy and it’s value. However, through my own growth as an artist over the past 10 years I see a revival spreading exponentially in the minds and attitudes of Muslim communities and societies at large. I feel it’s evidenced not only on a local level, but also a more national level in the efforts of large organizations making the space for Art Exhibits, presenting features on Artist in Islamic magazines, inviting Artists to lecture in Islamic schools, at Mosques, at conferences, at Interfaith events, at Universities, all of which I’ve been fortunate to take part in. And I can’t think of a single art exhibit I’ve participated in where my parents, friends, or even extended family haven’t attended. 

Ultimately the challenges of being an artist, Muslim or not, include being understood, appreciated, and staying motivated to sustain the struggle of self-confidence in your ability, and your work. As Gwendolyn Brooks, the late American poet said, "Art hurts. Art urges voyage - and it is easier to stay home."

5. Could you introduce us to what is exactly "30 Days of Autumn"?
The series "30 Days of Autumn" began on a late October afternoon, while collecting leaves with my two little nieces in my parent's backyard. I have always collected leaves since childhood, but to see the joy and wonder of it again from a child's perspective was inspiring, and contagious. Each leaf had so much character, beauty and poetry, you could almost anthropomorphize them to give them human qualities ~ grouchy, light, poetic, energetic, serious ~ they were microcosms of human existence in themselves.

I would collect leaves on all kinds of random walks and outings, and I had two rules for myself: 1) only collect leaves fallen on the ground, and 2) reuse and recycle materials I found around me for the collage projects. Recently, I had a read an excerpt in a book from the 1980’s that in America, 20% of all garbage is from grass clippings and autumn leafs. I can only imagine what that number is today, and I've always thought it so absurd that people gather up leaves just to throw them away in trash bags. I wanted to make a concerted effort to re-use and exhibit these leaves in such a way that you could beautify your surroundings with them; I wanted to inspire others to take the time to notice the leaves, to look at them differently, to make their own projects in their own unique styles.

The response to the "30 Days of Autumn" leaf collection was so positive I decided to print them as postcards. You can read more about it, and view the Series at www.njartitecture.com/Mastr_Framst_Autumn.htm, and purchase postcards, if interested, on the web pages that follow.

6. How do you work? What is your inspiration?
There is a great quote by the French writer Gustave Flaubert that I remind myself of from time to time: "Be regular and orderly in your life so that you may be violent and original in your work."

Every day for me is different, and that is the consistency of it, and the chaotic pattern that I desire to be methodical in my work. I have always been a highly organized worker though, and becoming more disciplined over the years, combined with knowing when I am most productive, versus when I am most creative, helps me create a good working day.

During the day light hours, I am usually doing architectural related tasks such as drafting, research, product selection, phone calls, emailing, scheduling, and consulting with other design or construction professionals. Any architectural design or art-related activities are performed in the evenings, or the weekends when I know I will have focus without any interruptions or appointments to see an idea through. Inspiration that I feel during the day is sketched, written down, or bookmarked for later. Working with concentration and lack of disruption to the creative work flow proves to be much more productive, as opposed to working for fifteen minutes at a time, with constant interruptions. Sometimes, of course, you have no choice, and you make the most of what you can do.

When I begin a painting I do a lot of writing actually ~ writing out of thoughts or a reaction to a particular experience, and I meditate on it, analyze it, explore it, in whatever myriad of ways I can. I always take out a blank canvas and set it where I will see it constantly for a week, or sometimes more, and stare at it from time to time throughout the day. For me, it's a tradition that cultivates excitement in starting a painting project, acknowledging that on that canvas lies boundless potential and opportunity, ready to be embraced. The actual painting process is fairly quick compared to the planning and finished process.

My inspiration comes from anything and everything! ~ moments of solitude, a good conversation, a good book, a good cry, a photograph, a concept, a detail, a desire, a dream, a prayer, a walk. I don't go out seeking inspiration; the subject matter is always around you. I choose something I want to explore deeply and try to translate parts of it into a two-dimensional form. It’s just like having a concept for a plot and writing a novel from it, or having a tune or a lyric in mind and producing a song, except it’s in a different media ~ paint.

7. How does your faith influence your creations?
My faith and religion are an indistinct part of everything I do. I've always taken the verse "Do what is beautiful. God loves those who do what is beautiful" (2:195) as motivation for living my life. I see it as a responsibility to act ethically and mercifully to the environment around me, and everything it contains. I also believe we have a responsibility to reflect upon and contribute beauty to the world.

8. What message would you like to spread with your work?
I think art is one of the most significant and influential tools for giving hope to people, for revealing beauty, for inspiring us to be reflective and thoughtful about our existence and our experience, for forming and refining a cultural identity, and a self-identity. It can allow an individual to see their world from another view, influence them to think differently, and motivate them to become active.

What I hope for my art work is that it brings individuals from totally different backgrounds and experiences together, on the common ground that we can all appreciate beauty in our own unique ways, and reflect on it in meaningful ways.

9. What are your future plans?
For the future, I hope to continuously deepen and refine my art, and be more determined of my mission, and goals. I want to collaborate with other artists on a more professional level, and use art as a tool for social advocacy. Just recently I started an "Art Drive for Haiti" where I selected a few older reprints of mine and put them up for sale at half price, with all contributions going to relief agencies that provide 100% of their donations to Haiti Earthquake Relief. (Reprints can be purchased at www.njartitecture.com/Mastr_Framst_Gallery.htm). It had a good response and I was so encouraged by the numerous other artists, poets and musicians who exhibited and shared their work and creativity for the purposes of raising awareness and money for Haiti. There is so much we can do if we work together toward a common goal!

Some other events I'll be taking part in the coming year are a few art exhibitions with some interesting, socially relevant themes where I'll be exhibiting some new work. I've also started producing a line of postcards, which I hope to showcase and have for sale by Ramadan 2010. In May of this year I plan to moderate a lecture at an international event in Malaysia hosted by WIEF (World Islamic Economic Forum) that will have a panel of young professionals speaking about the relevance of art for Muslim youth. I have a few architecture-related opportunities to travel and work abroad in the coming future, which I'm excited to finally take the time to pursue. I hope to continue building my design business 'NJArtitecture' as I gain more experience and broaden my exposure.

You can keep up to date with my work and travels on my website www.njartitecture.com, and through my fan page on facebook called "NJArtitecture." In addition, I can be contacted at nadiaj@njartitecture.com.