Amin Rehman is a multidisciplinary visual artist who has been working since the 1980s. Rehman’s interests are primarily drawn from his experience
of living in Pakistan and Canada. His work engages with and comments on the current effects of neo-colonialism and globalization, encompassing
multiple artistic mediums such as installation, painting, video, and neon. He studied at the National College of Arts (Lahore, PK), the University of
Manchester (UK), and the University of Windsor (CA).
Rehman has exhibited extensively in exhibitions and festivals across the globe. Recent exhibitions and awards include: War of Narratives, First NCA
Triennale, Lahore, Pakistan (2025), Water Wars, Karachi Biennial, Pakistan (2022); and Bleeding Borders at Zahoor ul Akhlaq Gallery, National
College of Arts Gallery, Lahore (2025) with multiple grants from Canada for Arts, Ontario Arts Council, and Toronto Arts Council grants awarded
between 2008 and 2024. Rehman was the recipient of the Chalmers Fellowship Award in 2008 and 2017, and the British Council Fellowship in 1987.
Through my art practice, I have continually investigated and questioned themes of violence, conflict, war, and peace to highlight the complexities of
cultural globalization as an ideology of security. In using a range of artistic interventions, I attempt to highlight issues of post-colonialism, alongside
the aggressive capitalism, which manifests itself as a floating signifier of world order and peace. Expanding on these ideas, my body of work utilizes
the graphic and informational qualities of print media and the aesthetic design elements of Pop Art. It speaks to the current ‘branding’ of global
issues across the internet and traditional media platforms.
The War of Narrative is an ongoing theme of my tile works since 9/11. These open-ended texts, small encaustic tiles, such as They Lied to Us Every
Time (Image #1, 2022), State Within a State (Image #2, 2022), Where is Home ( Image #3, 2022), Zero-Sum Thinking (Image #4, 2022), and The
State Is The State (Image #5, 2022), trace neocolonial history, the effects of war, global dominance, the structure of internal powers, and cultural
interference in these encaustic tiles. These direct and open text selections replace historical text and are symbolic of the cultural invasion experienced
in colonized countries like Pakistan and its continuity within internal power structures.Amin Rehman is a multidisciplinary visual artist who has been working since the 1980s. Rehman’s interests are primarily drawn from his experience
of living in Pakistan and Canada. His work engages with and comments on the current effects of neo-colonialism and globalization, encompassing
multiple artistic mediums such as installation, painting, video, and neon. He studied at the National College of Arts (Lahore, PK), the University of
Manchester (UK), and the University of Windsor (CA).
Rehman has exhibited extensively in exhibitions and festivals across the globe. Recent exhibitions and awards include: War of Narratives, First NCA
Triennale, Lahore, Pakistan (2025), Water Wars, Karachi Biennial, Pakistan (2022); and Bleeding Borders at Zahoor ul Akhlaq Gallery, National
College of Arts Gallery, Lahore (2025) with multiple grants from Canada for Arts, Ontario Arts Council, and Toronto Arts Council grants awarded
between 2008 and 2024. Rehman was the recipient of the Chalmers Fellowship Award in 2008 and 2017, and the British Council Fellowship in 1987.
Through my art practice, I have continually investigated and questioned themes of violence, conflict, war, and peace to highlight the complexities of
cultural globalization as an ideology of security. In using a range of artistic interventions, I attempt to highlight issues of post-colonialism, alongside
the aggressive capitalism, which manifests itself as a floating signifier of world order and peace. Expanding on these ideas, my body of work utilizes
the graphic and informational qualities of print media and the aesthetic design elements of Pop Art. It speaks to the current ‘branding’ of global
issues across the internet and traditional media platforms.
The War of Narrative is an ongoing theme of my tile works since 9/11. These open-ended texts, small encaustic tiles, such as They Lied to Us Every
Time (Image #1, 2022), State Within a State (Image #2, 2022), Where is Home ( Image #3, 2022), Zero-Sum Thinking (Image #4, 2022), and The
State Is The State (Image #5, 2022), trace neocolonial history, the effects of war, global dominance, the structure of internal powers, and cultural
interference in these encaustic tiles. These direct and open text selections replace historical text and are symbolic of the cultural invasion experienced
in colonized countries like Pakistan and its continuity within internal power structures.