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Education

    

PhD Economics, University of Maryland ,College Park MD

MA Economics, University of Maryland, College Park MD

Corcoran College of Art and Design, George Washington University

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Gallery Representation

Studio Gallery

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Solo Exhibitions

2026 Solo Exhibition Stimson Center  April-October

2026 Solo Exhibition Studio Gallery "The World Appears as we Open our Eyes

2025  Solo Exhibition Studio Gallery "Entwined" March-April​

2022 Women's National Democratic Club, "Where Stars Go to Dream"

2016 Glenview Mansion Art Gallery, “Taking the Plunge”  MD

2018  Glenview Mansion Art Gallery,  "Color Rhythms"

 

Juried and Group Exhibitions  

2026 Washington Hilton "On Becoming a Blossom"

2026 ADA Washington DC "E Street Artists Revisited"

2026 Watergate Gallery and Frame Shop "Beyond The Horizon"

2025 Athenaeum, Alexandria, "Essence: The Characteristics that Define Us"

2025 Maryland Art House. Women Artists of DMV

2024 Artomatic

2024 Katzen Art Center. Transformers. "Transcendence" ​

2024 Strathmore Art Mansion, Rockville MD, juried show, "Prism"

2023 McLean Project For the Arts. "Not Strictly Painting"

2023 Stimson Center, Washington DC Juried Show "Prospects on Peace"

2023 Studio Gallery, Washington DC, Duo Show, A Moment of Vision

2023 McLean project for Arts, Mclean VA Juried Show, Not Strictly Painting

2023 Watergate Gallery and Frame Shop, Washington DC,  Juried Show, "UnFolding Dreams"

2022 Athenaeum Gallery, Alexandra, VA Duo Show with Paul Cunningham, When Canvas Meets Curve 

2020 Athenaeum Gallery Alexandria VA, "Human Condition"

2020 Athenaeum Gallery, Alexandria, VA "A moment in Time A Very Weird Time" 

2020 Washington National Democratic Club, Washington DC,  "Reflections on Climate Change"

2019 Embassy of Chile, Washington DC,  juried show Climate Change

2019 Baked and Wired, "Double Vision" with Yumi Hirokawa

2019 Glen Echo Par., Glen Echo MD, Points of View, group show

2019 Latham and Watkins, Washington DC,  Imagining Landscape, juried art show

2019 Watergate Gallery ,Washington DC,  "Unleashed", with E Street Artists

2019 Politics and Prose, Washington DC, "1000 Nights of Frida"

2018 ADL Group Show and Fundraiser

2018 Gallery 101, Corcoran School of Art and Design "Sexual Being"

2018 Winter Palace Studio, Washington DC,  "Water and Sky"

2017 Watergate Gallery, Washington DC, "Glimpse" with E Street Artists

2017 Glenview Mansion Art Gallery Rockville MD juried group show

2017 GCDC , Washington DC “Spring Perspective” with Yumiko Hirokawa

2017  Brookside Garden, Silver Spring MD

2016  The Writer’s Center, Bethesda, MD

2016  Winter Palace Studio, Washington DC, “Commission a Portrait” Washington DC

2015  Corcoran College of Art and Design, Washington DC juried show “Passing Through”,

2015  Glenview Mansion Art Gallery, Rockville, MD

2014  Winter Palace Studio, “Potomac Plein Air” Washington DC

2014  Glenview Mansion Art Gallery, Rockville, MD

2013  Winter Palace Studio, “Murals”, Washington DC

2009  Winter Palace Studio, “Plein Air Georgetown”, Washington DC

2005  Winter Palace Studio, “Plein Air Georgetown”, Washington DC

 

Teaching Experience

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1982-1987, University Of Maryland, College Park, MD

1990-2015, Montgomery College, MD

 

Publications 

     

John Adams and Sabiha Iqbal Exports, Politics and Economics

Development.Pakistan 1970-1981. Colorado: Westview Press,1983

Sabiha iqbal. The Simmering Pot.,DC: Politics and Prose,2015

                                      

Awards

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2017 First Place, Glenview Mansion Art Gallery

2014  Second Place, Glenview Mansion Art Gallery

2013  Honorable Mention, Glenview Mansion Art Gallery

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CV

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  • Instagram

Itayecxi AlvarezApril 10, 2026Sabiha Iqbal is a remarkably versatile artist whose work has been presented across a range of galleries and cultural spaces. Each of her exhibitions offers a distinct experience, revealing the breadth of her styles and mediums as she conveys both hopeful and darker, more introspective themes. Time in this Scribblings of The Times feels layered and cyclical, where memory is something inherited, intimate, and continuously unfolding through feeling rather than documentation. In contrast, The World as We Open Our Eyes engages with the immediacy of the present moment. Together, these exhibitions show an evolution in Iqbal’s practice from poetic introspection to global engagement. While both bodies of work emphasize movement, emotion, and interconnectedness, they differ in how they situate the viewer: one invites reflection inward through memory and poetry, and the other pushes outward toward awareness of contemporary realities. Itayecxi: You talk about constant movement and change, and I can see that in your artwork, can you tell me about the ways Scribblings of The Time and this exhibition, The World as We Open Our Eyes, each reflect a different relationship to time and memory?Sabiha Iqbal: In Scribblings of the Time, my relationship to time and memory is deeply reflective and rooted in poetry, especially the work of my mother, Ada Jafarey, whose words shape the emotional and visual language of the paintings. In The World as We Open Our Eyes, time is not reflective but urgent, unfolding through the incorporation of newspaper clippings, text, and references to current events.Itayecxi: How are human figures treated differently in each body of work?Sabiha: The human figures in these works are expressive but softened, almost poetic themselves, functioning less as specific individuals and more as embodiments of emotion and rhythm. The figures in The World ad We Open Our Eyes become more fragmented and layered, embedded within a broader social and political context, suggesting that identity is shaped by collective experience and global realities. Itayecxi: How does the depiction of interconnectedness between humans and nature evolve between the two shows?Sabiha: Similarly, the natural elements, such as flowers, skies, and organic forms become symbolic, reflecting an inner world where humans and nature exist in harmony. In this exhibition Scribblings of The Time, the “world” is constructed as something internal and imagined, shaped by memory, language, and introspection. In contrast, with The World as We Open Our Eyes, the relationship between humans and nature also shifts. No longer just symbolic, it becomes more direct and ecological, addressing issues like climate change and interconnected systems of impact. Itayecxi: How does each exhibition construct a sense of the world, is it internal, imagined, or externally observed?Sabiha: In this exhibition Scribblings of The Time, the “world” is constructed as something internal and imagined, shaped by memory, language, and introspection. But in The World as We Open Our Eyes, the “world” is externally observed and mediated through information, creating a sense of witnessing rather than remembering. Together, these two bodies of work reflect my movement from an introspective, poetic exploration of memory toward a more outward engagement with the complexities of the contemporary world.Source: https://discerningeye.substack.com/p/state...

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