In the spotlight

What’s your story, and how did your early life shape the filmmaker you’ve become?

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I grew up in a big family with seven siblings and growing up in the 90s in Islamabad, we were always

outdoors. Life was all about nature, bike rides, evenings at community parks and pets… and also street

cats.

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I had a particular interest in collecting random, interesting objects during those evening adventures, odd-

shaped stones, marble pieces, cards, wires or even limestone that you could use as a chalk. I was always

inclined towards making things, drawing, painting and doing art. Creating games out of boxes and found

objects and turning cushion into forts. Over the years, with my parent’s encouragement, I decided to

pursue it formally and after high school, decided to apply for Indus Valley School of Art and Architecture.

I, Initially, wanted to study Fine Arts but when I was filling in the application, I choose Communication

Design, because it felt like a better fit my personality.

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Now, after over a decade after all that, I see myself somewhere in the middle, and that is exactly why

Illustration speaks to me.

 

Your work explores self-image, Desi identity, femininity, and pop culture. What draws you to these themes?

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My interest in self-image really began during my Master’s program at London College of Communication,

where I explored the concept of the Self and the Other and how we see ourselves in different context

,and how we ourselves to what we perceive as “the Other”.
 

That exploration kept resurfacing in my work, during my Master’s and it is very much a part of my

personal practice. I feel that the other themes naturally branch out of it and are connected to the core

theme.
 

As a desi, brown, South Asian woman, my identity ties all the threads together. It shapes how I see the

world and myself and this is how my own visual style has also evolved over the years. Because my work

is rooted in these ideas, I often get approached for projects that reflect similar themes.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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You work across design, digital art, installation, and more. Which medium feels most natural to you, and why?
 

Over the years, I have experimented with all sorts of mediums, acrylics, oil, sculpture, ceramic, print-

making, motion graphics and everything in between but I was always drawn to creating images that blend

digital and analog. My illustrations are usually a mix of geometric shapes created digitally combined with

organic lines layered on top to add movement and depth and that is how my illustration style has also

evolved.
 

These days, I feel the most comfortable working digitally because of how easily it translates across

different mediums - but maybe that is the designer in me talking, who wants to do everything fast. The

artist in me loves printmaking. I am not amazing at it yet but I want to get better at it. Till then, I see it as a

hobby that feeds into my creative practice indirectly. I also really enjoyed screen printing in university and

wish I had more access to it now.

 

Your work blends bold shapes, textures, and storytelling. How did your distinctive style develop?
 

Art schools are all about discovering and rediscovering your voice and your style over and over until you

get to a place that feels real to you. I also explored mine and took time to find it like most people. It takes

a lot of practice and honestly, a lot of bad work to get to the good art. That goes for any medium. I am

sure my first illustrations were absolutely terrible. Over the years, you understand what works in your

style, what you are drawn to making and what comes out naturally and what does not resonate with you.

You develop a colour, composition and a way of making things that are uniquely you and this is often the

starting point of creating an illustration style.
 

That said, the idea of having a particular illustration “style” feels a bit old-school now. In 2026, with AI on

the rise and other digital tools, illustration style can easily be replicated, especially in digital work. Having

a unique perspective or voice is far more important now. What you choose to talk about, what subjects

interest you, what makes your work more meaningful to you is far more important. The voice and

perspective always changes to but that is what keeps the work fresh and interesting.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Looking back, which project or piece feels most meaningful, and why?
 

There are a few projects I am really proud of. From my illustration work, Monuments of Pakistan book

illustrations stands out for me. I was drawn to the theme immediately and spent hours researching and

really studying the architecture, the arches, the tile work and the history behind each building. The work

was produced with such ease and I really experienced that ‘flow state’ artists talks about. I felt deeply

connected to what I was creating. After the book was published, seeing kids engage with it was so

rewarding too. I remember seeing a post about a family who went on a road trip and visited all the

monuments that featured are in the book. That brought me so much joy!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

​​On the design side, working on the British Council Library project was also very meaningful. It was a very

thoughtfully developed project with so many moving pieces that came together really well. From the

launch events to seeing, it be a functional library and a third space for people to come and connect and

exchange ideas was so special. To be able to design and work for a brand that has so much legacy and

does such meaningful work has been incredibly rewarding.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Are there artists, designers, or creators whose work has inspired you and maybe even made you a little jealous, wishing you’d made it yourself?
 

Hah! So many. I have always loved Jessica Walsh’s work. Her ideas, the colours, the bold type and the

unapologetic nature of her work. It all comes together in a way that feels very true to her. Other visual

artists who have inspired me are Sanna Annukka. Her work has that geomatic pattern like feel that

inspired me to create in the same wat. I also gravitate towards Art Nouveau and Art Deco – that early 20th

century aesthetic is *chefs kiss*!
 

As yes, a little bit of creative jealously is healthy, no?! Recently I came across the work of an Indian

design studio called Boomranng! There work and collaborations with Nike and Coldplay are incredible. I

was really drawn to the colours and the movement in their work.
 

Pop culture shows up in so many of your pieces. If you could remix any movie, show, or song into your visual language, what would it be?
 

I have actually done a few personal projects where I reinterpreted films or music in my visual style. If I

take it further, I would love to design an album cover or merch for one of my favourite bands. I listen to

alternative, atmospheric indie music and I think that influence shows up in my personal work quite often.

I would also love to do the graphics or prop designing for a Wes Anderson-esque or a Greta Gerwig-like

movie. I am drawn to their surrealistic, quirky style of storytelling and the set designs are just so cool.

Hah! Putting it out in the universe!

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Thinking back, what advice would you give your younger self starting out in the creative world?
 

I would say focus on hands on, analog work first and then move towards digital. It is important to know

what your personal voice is before getting lost in the world of tools, apps and trends. Tools and the

mediums will always change, as we have seen with AI and its capability. Your unique point of view is the

only thing that will always be yours. It will evolve and expand and take carry your work forward, be it

commercial work you do or personal practice.
 

What would your dream collaboration look like and with whom, dead or alive?
 

Every project brings something new and exciting, but I mentioned a few names above. More than a

person or a brand, I would love to work on a collaboration or project that I truly connect with. I would love

to create for children living in conflict or war zones. Seeing all the death and destruction through our

phones is so hard, I can’t imagine living through it and growing up in it. If my work can bring some joy in

that situation, that would mean a lot.
 

What team, project, or idea are you most excited to explore next? What’s next for Wajeeha?
 

The last few years have been a lot, with moving countries, settling in a new place and slowly building my

creative career here in Toronto. It’s been a journey but now I feel I am ready to reset and move forward

with intention. I am currently work on personal projects around my desi roots and another around

emotions. I am also exploring some opportunities to exhibit and take part in group shows in Canada. I am

always open to collaborating on a fun and meaningful project. Here’s hoping 2026 is an energetic,

fulfilling and creative year for me!