Material, culture and lived experience remain central to his practice, where collage becomes a way of assembling memory, identity and resilience.
Born in Wrexham, North Wales (1974) of Pakistani parents, Liaqat Rasul’s art practice has its roots in the world of fashion. After completing his studies in textiles at the University of Derby and selling his graduation collection to Liberty’s, Rasul spent a decade running his own womenswear brand, Ghulam Sakina, from Delhi, Jaipur and Calcutta. His time living and working in India shaped his relationship to textiles, community and storytelling. The traumatic liquidation of his company during the financial crash of 2009, ultimately led to the gradual birth of his art career. Whilst facing gruelling times back in London, he began making collages quietly in his spare time, during a five year stint of working in a pub.
Material, culture and lived experience remain central to his practice, where collage becomes a way of assembling memory, identity and resilience.
Rasul speaks openly about mental health and the realities of sustaining a creative life. For him, making art is an act of hope and persistence.
His work speaks to social and moral issues including exploitative practices within the fashion industry, the history of racism within the UK, frictions arising within multicultural societies and meditations on how to move beyond these.
Rasul’s mobile faces have emerged as a hallmark of his artistic practice. Serving as poignant stories of mental health struggles, his work is a visual thought process inspired by multiculturality. Drawing inspiration from the subtleties of human interaction, as well as the formidable battles against mental health issues, Rasul embraces the transformative power of vulnerability – an openness that fosters empathy and understanding.
His work evokes multicultural landscapes , where diverse voices, beliefs, and ideas converge. Tactical sensations intertwine with analogue expressions, inviting us to engage with our surroundings on a deeper level. Encouraging us to embrace the bonds of our support networks, he reminds us that in our shared journey through life, we are all interconnected and in need of one another.
His acclaimed 2024 solo exhibition Nau Nau Doh Chaar at Tŷ Pawb, curated by Lewis Dalton explored the legacy of Partition, identity and diaspora through a large-scale market stall installation inspired by his family history. The exhibition received coverage in The Guardian, Eastern Eye and World of Interiors.
Rasul’s recent commissions include projects for the British Textile Biennial and Festival of Making, with works acquired by the Arts Council Collection and the Crafts Council.