In a rapidly changing society where indigenous heritage, ecology, and social values are fading amidst the pursuit of material gain and the glorification of power, raising questions about these issues through art is no easy feat.
However, a young artist and poet, Shahid Hassan Boni, has taken up this challenge. Through his art, he invites society to engage in a dialogue aimed at reviving indigenous wisdom, protecting heritage, and fostering awareness about nature.
Boni’s visual display at the Old House Contemporary Museum at Ghulkin Gojal in the Hunza District has captivated art lovers. The museum, or Pup Khun (grandpa’s house), stands as a living testament to both history and creativity. Located in Ghulkin, Gojal, Hunza, this 900-year-old house has been carefully restored and transformed into a vibrant space dedicated to art.
As an emerging voice in contemporary art, his work reflects a unique vision and remarkable creativity. Curated by Karim Ahmed Khan, an artist in his own right, the exhibition opened on 21 March 2025—the first day of the Persian New Year for the Wakhi community—and will run until 21 April.
The exhibition titled “Traces of Roots” offers a reflective journey through Boni’s exploration of cultural identity, memory, and the heritage of mountain communities. It blends visual storytelling with both personal and collective narratives, offering a unique dialogue between past and present in the atmosphere of the Old House Contemporary.
The visual artist, hailing from Gojal, Upper Hunza, graduated with distinction from the National College of Arts (NCA), Lahore’s prestigious art institute, in 2021. Specialising in miniature painting, he blends traditional Mughal and Persian techniques with contemporary methods.
Boni’s work crosses media boundaries. Trained in Indo-Persian miniature painting, he now works across various forms, exploring the psychological effects of both natural and built environments. His paintings, which often feature imagined landscapes and architectural spaces, create illusions through interconnected doors and windows that invite viewers into layered, dreamlike worlds. His serene, surreal landscapes often depict environments and individuals in harmonious reflection.
He has participated in several exhibitions, both group and solo, at international and national levels at venues such as Pristine Gallery, New Delhi, alongside six other artists from South Asia, at Frieze, Mayfair in London; O Art Space, Khamsa Art, Zahoorul Akhlaq Gallery, and Alhamra Gallery. He has also worked as a sculptor at Thermocut Sculpture Studio in Lahore and conducted art and design workshops at Hashoo Foundation Youth Programme. Currently, he lives and works in his studio in Gojal, Upper Hunza.
In an exclusive interview, Boni reflected on his early childhood, passion for art, philosophy of life and tragedies. Boni’s personal story also informs his art. After his father’s death, he experienced an emotional crisis that forced him to take a two-year break from his studies. However, upon his return to NCA, he produced exceptional works in his final year, including pieces that expressed his feelings of disorientation and confinement. His 2013 exhibition, Free Will (a two-person show at Numaish Gah, Lahore), portrayed these themes through gouache and graphite works, depicting figures trapped within societal structures.
“I spent my childhood with my grandfather, a carpenter, who had a formative influence on my artistic journey.”
He recalls how he would often take his grandfather’s tools and work independently, an act that ultimately led him to pursue art as a career. Despite his family’s initial resistance, including his late father’s preference for him to pursue commerce, Boni’s passion for art eventually overcame all obstacles. His mother’s unwavering support was crucial in his journey, and after completing his bachelor’s in fine arts from NCA, he returned to Hunza to establish his studio.
Loss of nature, heritage, and displacement
Boni’s artistic journey is deeply influenced by his relationship with displacement. “My artistic journey is a voyage into the depths of my relationship with displacement, both physical and psychological,” he says. Raised in the remote picturesque Moorkhon Valley, his early life was steeped in local mountain culture, a stark contrast to the urban hustle and bustle.
“This drastically opposing exposure left me emotionally unsettled and distressed for a long time. It pushed me to scrutinise human behaviour, igniting a curiosity to delve into psychology, philosophy, and the profound influence of one's environment on the essence of human nature and my behaviour.”
He believes in existentialism and is inspired by poet Juan Elia and fiction writer Saadat Hassan Minto, and Russian novelist Dostoevsky, who have unravelled complex human psychology, discussed the real issues of society. “Such poetry and writing fascinate and inspire me”, he says.
His Indo-Persian miniature training informs his compositions, but he has also integrated contemporary techniques, blending traditional and modern art seamlessly. Boni’s paintings capture figures in motion or stillness, placed within dreamlike environments that evoke existential questions. Architectural spaces in his work often suggest isolation, while dense foliage seen through windows and doors connects the internal world with the outside world.
For Boni, his art is a constant exploration of self and existence. He questions whether his connection to the world with an illusion is real or merely, with his work acting as an interrogation of these themes. His current body of work reflects his concern for the fragmentation of social and cultural fabrics and ecological degradation, urging society to recognise the importance of love for nature, empathy for others, social justice and sustainable development.
The exhibition also includes a video installation featuring Boni’s poetry in the indigenous Wakhi language, accompanied by music produced by Sohail Rumi. This collaboration with Rumi, who recorded natural sounds from the environment, creates an immersive soundscape that enhances the visual experience in the gallery.
On the philosophy of art for the sake of art versus art for life, Boni embraces both perspectives. He believes that during the creation of a piece, the artist should be fully immersed in the process, disconnected from concerns about its future reception. “Once the work is complete, however, it becomes a vehicle for conveying a societal message, and the artist should consider how the work will be presented and how people relate to it.”
Boni also criticises the hypocrisy and lack of inspired action in society. He believes that true criticism must stem from a place of self-reflection and that societal contradictions—where actions contradict words—are at the root of societal disorientation.
On the role of an artist in society, Boni believes that an artist, as a sensitive member of society, cannot remain detached from the events unfolding in their surroundings. Whether negative or positive, these experiences shape an artist’s perspective and deeply influence their work. Art, for Boni, is a medium through which emotions and observations are communicated—a guiding principle in his creative journey.
For Boni, culture is not a static entity; it must evolve, but with intention and mindfulness. While change is inevitable, it should be a gradual and conscious process, not one driven by blind imitation. “We must critically assess external influences, adapting only those that align with our unique culture and environment.”
Concrete jungle vs indigenous designs
Boni is particularly sensitive to the challenges posed by unplanned construction in the picturesque Hunza valley driven by mass tourism and its potential psychological effects on future generations. He calls for urgent collective action to address these issues before they spiral out of control.
The artist is a staunch advocate for government oversight in Hunza’s architectural development. He cautions against the replication of Western building designs, urging instead for structures that harmonise with the local ecology.
His work now directly addresses these issues, with Traces of Roots offering a critical response to the rapid changes in the fragile ecological region. Through his paintings, he emphasises the importance of harmonising nature and the built environment, using metaphors to celebrate both nature’s resilience and the dominance of urban development.
He contrasts old architectural styles, which were deeply rooted in local materials and sustainable practices, with the modern concrete structures that have altered the landscape. Although not opposed to modern materials like cement, he stresses the importance of preserving traditional architecture, which is integral to local culture.
One of the key reasons for his migration from Lahore to his native town in Gojal, upper Hunza, was the overwhelming social and environmental pressures he faced as a sensitive individual. Hunza, with its serene beauty, provides a sanctuary where one could cleanse himself of negativity and channel his energy into meaningful artistic expression.” It is here, in this tranquil environment, that he established his studio, creating art that reflects his thoughts and emotions.
Raising awareness around this issue is crucial, and Boni has used his art as a catalyst for dialogue and awareness. “It’s encouraging to see when visitors engage with my installations, discussing the importance of preserving Hunza’s cultural and environmental integrity.”
Boni draws inspiration from several international artists, including Olafur Eliasson and Anselm Kiefer. He admires Eliasson’s ability to incorporate nature into his work and Kiefer’s powerful large-scale pieces. Additionally, Boni has learned a great deal from his interactions with Pakistani artists Imran Qureshi and Ali Kazim, who were also his mentors.
Boni’s exploration of contemporary mediums allows him to achieve the same richness of colour and matte finish that fascinated him in gouache. His work reflects constant evolution as he combines tradition with innovation to explore deeper questions about existence, nature, and society.