Born in Pakistan and shaped by a life of movement, Aliya describes herself as a citizen of the world. Having lived in Pakistan, Indonesia, Hong Kong, London, Toronto, the UAE and Saudi Arabia, she is now based in Bahrain. These shifting geographies continue to inform her sensitivity to place, material, and quiet human narratives.
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Aliya is a self-taught ceramic artist who has developed her practice through sustained research, close observation and continuous experimentation. Clay, for her, is both a medium and a companion, responsive, forgiving and capable of holding stories, gestures and emotion without explanation.
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She studied Jewellery Design at George Brown College in Toronto, an experience that continues to inform her approach to form, structure and detail.
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Her work moves fluidly between function and sculpture, often inviting use while remaining deeply personal. Across her practice, Aliya is drawn to forms that feel lived-in, slightly imperfect, intuitive and quietly expressive.
The Artist
Building a lamp, urn, vase or sculpture is always a unique experience for me. I rarely begin with a fixed image in mind. Instead, I allow form, scale, texture and function, shaped by the changing mood of both maker and clay, to guide each piece toward its final state.
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Most of my work is hand-built, a process that offers freedom and a direct connection to the material. I consciously incorporate the marks of my fingers and tools, along with the effects of fire and smoke from the kiln, allowing the process to remain visible.​​
After the first firing, when clay becomes ceramic, the painter in me emerges. I often feel I am a painter working in three dimensions. Inspired by twentieth-century artists, particularly Picasso, I approach glazing as an extension of painting, layering, experimenting, and allowing space for surprise and narrative.
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Functionality is central to my practice. I believe an object should offer both use and visual joy. My wall murals and platters are finished with food-safe glazes and can be used for serving. Urns may double as flower vases or storage vessels, and my sculptural forms often function as candle holders. The stories within these pieces arise from observation, memory, and imagination.
Bahrain
Ceramic Bowl
January 2020
The years I spent in Bahrain inspired the creation of this bowl.
My drawings celebrate the rich diversity of Bahrain’s population, a blend of faiths, cultures, and traditions that make it a truly global city. The imagery reflects the sights and sounds that surrounded me during my time there: the vibrant festivals, the farms I passed on school runs with my children, the aroma of shisha drifting along winter sidewalks, groups of women in coffee bars, lively kitty parties, serene moonlit nights, and the shimmering turquoise and azure hues of the surrounding ocean.
At the centre of the bowl, the black-and-white checkered floor symbolises the underlying theme of the piece: joy. It represents a central courtyard where people of all ages come together to celebrate life, parents cradle their babies, ensuring that even the youngest are included in moments of happiness. This bowl is a reflection of the everyday beauty, warmth, and communal spirit that defined my life in Bahrain.
Awards & Participation
January 2020, 46th Bahrain Annual Fine Arts Exhibition Bowl titled 'Bahrain'
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​December 2019, Modern/ Contemporary - Exhibition at Art Chowk Gallery (Karachi, Pakistan) ​
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October 2019, Hidden in Plain Sight - Exhibition at Satrang Art Gallery, Serena Hotel (Islamabad, Pakistan)​
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December 2018, Earth to Form - Solo Exhibition at Art Chowk Gallery (Karachi, Pakistan)​
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January 2018, 44th Bahrain Annual Fine Arts Exhibition Euphoric Flutterings
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​January 2017, 43rd Bahrain Annual Fine Arts Exhibition, 3rd place Sculptural vases titled 'Tolerance', 'Behind the Scenes', and 'Nurture and Nature'.
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November 2016, Al Riwaq Art Space, Bahrain Participated in their annual event 'The Nest'
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September 2015, Malja Bahrain - A Red Bull Space Participated in their Open Call Exhibition
