Investigating borders, collective memory, material culture, globalisation, displacement and fragmented histories, within the realm of sculptural installation, Huma Mulji draws on the city, as both site and subject. She considers artworks as timekeepers, marking emotional histories: of sorrow, futility and humour. The works stand as inconvenient witnesses, intentionally uncertain, across the plural worlds that she inhabits. In a recent work, Bombay Duck, she critically explores material and form, using breath to blow glass objects that scorch the surfaces that host them. Paradoxically remaining fragile and being shaped by the scaffold of mangrove wood, they serve as metaphors for the strength and vulnerability of exiled bodies.
Mulji’s participation in recent exhibitions includes For the Time Being: Kochi-Muziris Biennale, (2025), Manzar: National Museum of Qatar, Doha (2024), Aftermath, KitForm, Bristol (2024), Proposals for a Memorial to Partition, Twelve Gates Gallery, Philadelphia, USA (2023), Your Tongue in My Mouth (solo), Mirror, Plymouth (2022), Can You Hear My Voice?, Margaret Lawrence Gallery, Melbourne, Australia, (2021) Skyfall, (solo) Karachi, Pakistan (2020). In the Open and in Stealth, MACBA, Barcelona, Spain (2018), Witness, Karachi Biennale (2017), welcome to what we took from is the state, Queens Museum, New York, USA (2017), A Country of Last Things, Koel Gallery, Karachi, (2016), The Great Game, Irani Pavilion, Venice Biennale, (2015) and Burning Down the House, 10th Gwangju Biennale, South Korea, (2014). In 2012 Mulji was awarded the Abraaj Group Art Prize, and the DAAD Berliner Künstlerprogramm for Visual Art 2024–25.
She is a Senior Lecturer in Fine Art, at the University of the West of England, Bristol.
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