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In-Depth Talk with Islamabad’s Artistic Visionary
by MT Team
In the heart of Islamabad, where Pakistani traditions and modernity intertwine, Ilona Yusuf is quietly revolutionizing the art scene with her novel and unique creations. She is a trailblazer in shaping the art and design scene in the city and beyond, especially known for lighting design that Alona truly illuminates—quite literally. Driven by a quest for aesthetically pleasing and unique lighting solutions, she began creating bespoke lamps and shades, her journey is truly transformative.
Initially, aspiring to be a writer, her foray into the world of design was not premeditated, but rather a natural evolution of an innate artistic vision. What sets Alona apart is not just the breadth of mediums explored, as she flawlessly infuses diverse mediums and techniques to produce works of art.
Despite her success, Alona remains deeply connected to the local art community, exhibiting her work biannually and mentoring young artists and writers. Her exhibitions are eagerly anticipated events, showcasing not only her latest creations, but also fostering a sense of community by collaborating with Islamabad's artists. By stocking her pieces in curated gallery stores, she ensures that her work is accessible while maintaining its exclusivity and high standard.
Looking ahead, Alona envisions a future where her art continues to evolve and inspire. She is currently exploring the intersection of writing and visual art, aiming to create artist books that merge her two passions into a cohesive whole. This new direction promises to be as groundbreaking and captivating as her previous endeavors, solidifying her status as a luminary in Islamabad's art scene.
MT: Can you tell us about your journey and how you ended up in your current profession?
Alona : My journey into the arts and writing has been a winding path. I started out wanting to be a writer, but throughout my life, the visual element has always been strong. This visual aspect is present in my writing as well. For a long time, I didn't consider myself an artist. I understood that I could do design work, but I didn't think of myself as an artist because I taught myself a lot of the skills I use.
MT: How did you begin your career in design?
Alona: I started by doing work commissions, creating hand-painted glass panels for both commercial and residential projects. I taught crafts and did silk painting for three boutiques. Eventually, I moved away from craft retail, where I imported paints from America, and wanted to do something different yet related. Some techniques, like decoupage on wood, were still part of my repertoire.
MT: You mentioned lino block printing earlier. Was this a new technique for you?
Alona: Yes, I started lino printing by chance. My daughter's friend had attended a workshop in America and showed me how to use the tools. I began carving small blocks and later moved to larger ones. This evolved into a technique where one block contains different colors, unlike traditional woodblock printing where each block is a different color.
it's always been what I've seen in the garden or around me and reproduce those ideas
MT: Can you tell us more about your early influences?
Alona: Actually, in school, I struggled with art due to criticism from one art teacher. Then a new teacher, a soft-voiced recent graduate, replaced her and I particularly enjoyed her approach and style of teaching. I still remember her having taught me how to measure perspective, look at shadows, and understand colors. She encouraged me subtly, and as a result, I started doing well. Later, when I taught Montessori school, I became interested in how children learn through art, possibly because of my own disappointments in my schooling. Thats how art became closer to my heart.
Glimpse of Alona’s quaint atelier
MT: You also did some etching. How did you get into that?
Alona: I did workshops in Arizona (United States), starting with collograph printing from a collage board. I then explored solar plate etching, which uses UV light instead of acids. This allowed me to focus on themes like erosion and botanical forms, which I enjoy because of my love for nature. So whatever blocks that I've designed let's say the wood blocks mostly are based on local flora and fauna or what I'm looking at in the garden basically. So it's always been what I've seen in the garden or around me and reproduce those ideas but usually with the flowers I try and use local flora and fauna.
Throughout my life, the visual element has always been strong
MT: How do you stay ahead of the curve in your work?
Alona: After working with antique blocks for ten years, I learned the importance of innovation. I didn't want to do kitsch but create pieces that last. I keep ahead by doing something unique and contemporary, ensuring my work remains relevant and of high quality.
MT: How do you balance your handcrafted, personal work with the digital world?
Alona: For me, the challenge is supply and demand. Expanding digitally, like on Etsy, would require storage facilities abroad, which complicates things due to the volume of lampshades. My Instagram following is organic, and I prefer maintaining quality over expanding rapidly. Custom upholstery has been a recent addition, allowing me to use woodblocks and hand embroidery tailored to clients' needs.
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