Shamsia Hassani
- Text by Ricardo Miguel Vieira
- Photography by Shamsia Hassani
Shamsia Hassani is likely to be one of the busiest artists in Afghanistan. When the country’s only female graffiti writer is not teaching art in Kabul’s university or roaming the U.S., U.K. or Vietnam showcasing her artwork, she’s making a statement on women’s equality.
Shamsia sprays powerful, dreamy burqa-covered women on hidden walls, corners or alleyways in Kabul’s dusty streets. “[Women in burqas] are a symbol to change the minds of those that think that a covered woman can’t do anything.” Shamsia says, defiantly. “They are women, they can do anything. They are like normal people! I paint women with stronger shapes, movement and life to show them as being part of society.”
Twenty-six-year-old Shamsia was born in Kandahar, Afghanistan. She went to Iran hoping to study art but was denied the opportunity and returned home, eventually embracing graffiti in December, 2010 after attending the first street art workshop in Afghanistan, held by Argentine artist Chu. Since that early encounter, she has developed her own distinctive style, using paint and colour to raise the issue of women’s rights.
“Afghan graffiti contains lots of deep messages that often aren’t present in the West,” she explains. “For my artwork I’m not looking for any special technique. I only have one style and I don’t care if it’s good or bad quality. I’m not inspired by anyone.”
Painting in Afganhistan presents several challenges: from the scarce supply of spray cans to resisting Islamist zealots to the constant threat of bomb attacks. If there is no chance of finding a safe place to paint, Shamsia makes digital graffiti, adding her artwork to photographs of Afghan streets. Whatever the challenges, Shamsia will continue to use art to fight for peace and freedom for Afghanistan’s women. “It’s hard to use art to stop war, but I believe we can change lots of people’s minds and share our ideas; we can say to them that art can bring change.”
Find out more about Shamsia.
Latest on Huck
Exploring the impact of colonialism on Australia’s Indigenous communities
New exhibition, ‘Under a Southern Star: Identity and Environment in Australian Photography’ interrogates the use of photography as a tool of objectification and subjugation.
Written by: Miss Rosen
My sister disappeared when we were children. Years later, I retraced her footsteps
After a car crash that saw Magnum photographer Lindokuhle Sobekwa hospitalised, his sister ran away from their home in South Africa. His new photobook, I Carry Her Photo With Me, documents his journey in search of her.
Written by: Lindokuhle Sobekwa
Inside New York City’s hedonistic 2000s skateboarding scene
New photobook, ‘Epicly Later’d’ is a lucid survey of the early naughties New York skate scene and its party culture.
Written by: Isaac Muk
Did we create a generation of prudes?
Has the crushing of ‘teen’ entertainment and our failure to represent the full breadth of adolescent experience produced generation Zzz? Emma Garland investigates.
Written by: Emma Garland
How to shoot the world’s most gruelling race
Photographer R. Perry Flowers documented the 2023 edition of the Winter Death Race and talked through the experience in Huck 81.
Written by: Josh Jones
An epic portrait of 20th Century America
‘Al Satterwhite: A Retrospective’ brings together scenes from this storied chapter of American life, when long form reportage was the hallmark of legacy media.
Written by: Miss Rosen