I’ve been interested in textiles from a young age and my family has played a huge role in this. My mum has always shared her love of textiles with me. She taught me traditional South Asian textile techniques such as Phulkari and Sheesha work. In the past, I would go and check on my Mum and she might be crocheting, knitting or doing something else textile related. We would talk about what my mum’s plans were —what colours, yarns or wools she would use. She would take me to textile exhibitions, and on holiday to Turkey and Italy where we would explore architecture, culture, textiles, interiors and garments. When I was younger, I don’t think I thought much of it — it was just something I was used to seeing. I’ve come to really appreciate the time and dedication she gives to making clothes.  

I graduated with a BA Art & Design from Bradford School of Art. During my final year, I knew I wanted to display a textile piece looking at my cultural identity and female empowerment. My final major project was about the taboo of women cycling in Pakistan. The main piece is called ‘Women in Constant Movement‘. As a British Pakistani, I need to be mindful of the privileges I have, and I recognise that there are limitations to my understanding of what it’s like being a girl in Pakistan. Still, I wanted to bring attention to social issues in my home country that not many people here know about. 

In Pakistan, women who cycle are seen as immodest, or as having too much independence and freedom. Women are sexualised or harassed when they cycle so parents tell their daughters not to cycle. I read a blog by Noor Rahman talking about her experiences as a Pakistani woman cyclist. She talks about men telling her to smile – to talk to them – all whilst she is trying to cycle. Rahman explains how she tried to get help from army men but was ignored.  

While this is a serious, ongoing issue, I wanted to uplift women and highlight the matter in a positive light. ‘Women In Constant Movement’ depicts sculptural abstract women figures in protest stance. I was inspired by the Aurat Azadi March, an annual march in Pakistan where women demand equal rights, justice and safety. I’ve used the faces or features of my family and university colleagues in this project. I like including women I know in my art because I want them to feel empowered, and it feels more personal. Also, they all knew about the project when it was just an idea. I think they love it!

My samples link cycling and women together in abstract and experimental forms. I made paper cutout stencils of wheels, circles and bike parts. I spray-painted the stencils onto canvas and created textile samples collaging myself with bike parts (chains, wheels, spokes) or balancing on a bike wheel. I tried to create humorous facial expressions and exaggerated body language and postures as I wanted the samples to look fun. The samples include a range of photoshop, paper collages, sketches, photographs, textile weave and Urdu word play — for example I use words like ‘Azadi’ meaning freedom and ‘Taqat’ meaning power or strength.  

‘Great Women Chilling’ came from observing how women in my family and friends relax and feel comfortable with each other. I wanted the textile piece to represent the warmth and unity I feel at home – and I see the women I’m surrounded with as great women! I was inspired by my childhood when my family would sit on a floor with a bamboo carpet or vinyl spread beneath us and eat with our hands, sharing food from the same plate. I thought about my Mum and Grandma when I was making the sofa and armchair.  

I once remember my grandma telling me how she was enjoying her new, expensive – and comfy – armchair. As a child, I’d watch my mum come in late from work and she would just slouch right into our soft, leather sofa. I was most inspired by the way my Mum chills around her family. My aim was to show us being comfortable in our own spaces with each other. The way we dress, the way we act, it’s so effortless. These are the people who you can show yourself to. 

• Artist Residency @ East Streets Arts 
• 14 June – 5 July 2025  Fabrication @ Trapezium Arts, Bradford
• 6 June – 10 August 2025 HOUSE OF HABERDASH @ the Torriano Meeting House in Kentish Town, London
• September – October 2025 (Dates TBC) Our Turn Visual Arts Festival @ Loading Bay, Bradford

Follow Atiyya on Instagram: @_artiyya_