“It is the source of inspiration that compels ideas to materialise. We are the product of our circumstances – social, economic and political. My basic inspiration comes from the ambient circumstances.”
A retrospective look at Zuberi’s work, allows us to conclude that there have been different phases of progress in her work. In the early era, till the mid sixties, her ideas took their strength from the great innocence of infants and universal mother love; the forms that emerged were of mother and child, infants and animals.
After migrating to Pakistan, there came another perspective of feelings and experiences, another phase began to respond to the circumstantial realities and uncertainties. Through the view of human figures, the most delicate private feelings were expressed, which were actually abstract and immaterial.
The most significant period to come next was the deep study and research into the human form for its beauty. The elements of investigation were the delicacy of texture, the rhythmic beauty of posture and the continuity of line and weight.
The labour series appeared with the same characteristics, with its individuals and groups of figures; the homage to the dignity of labour, strength, grace and the beauty of the human figure. One of Rabia’s themes is related to the concept of drapery (Dopatta), which is the most important convention of a woman’s dress in our Indo-Islamic culture.