Hadley, Massachusetts and NYC artist Sarah K. Khan talks about:
How it’s a “little miracle” to have a studio (a former chick coop on a farm in the 5-college area of Mass.) after so many years working in kitchens and other spaces not dedicated to her work and where she can really spread out; her short films about the immigrant experience in New York via food trucks (particularly her Queens Migrant Kitchens series), and how she was originally motivated to work in this area in 2015 as a way to follow up on the fall-out from 9/11 among the immigrant community; the challenges she had getting street vendors and other food makers in being filmed, because they were afraid of being surveilled; the films’ impact on the street vendor community, including one woman who was able to grow from a street vendor stall to a brick-and-mortar restaurant (and keep the food stall active); her collaboration on ‘Speak Sing Shout: We, Too, Sing America’ with the animator Simon Rouby; her film and photography work in Old Dehli, one of the many world crossroads she’s covered; how making things for herself, first and foremost, is a practical way of making work (this may or may not be connected to her not being trained in a BFA/MFA kind of way; she has advanced degrees in food studies and has a background in integrative medicine); and how the core of her work is talking about the migration of people, plants and ideas (often women, often domestic spaces).
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In the 2nd half of the conversation, available to Patreon supporters, we talk about:
Sarah’s background in integrative medicine, including teaching chefs about nutrition, and taught Western nutrition to Eastern practitioners; how it’s time to grow our own vegetables as a way of taking control of our own health; vegetables and herbs people can grown themselves, both as food and in teas; plant-based diets, which are followed by most of the world; how food and culture infuses the ceramics, prints and animation work she’s been doing; the research and work she’s been doing in southern India and how it connects with the history of ‘the Sultan,’ and in her case replacing that story with the Queen of Shiba; how her engagement with her own cultural lineage in her work can encourage viewers to engage with their own cultures; how she’s created her own pipeline as an artist, without a BFA or MFA (having come from nutrition and science); her filming all over India (including in Nagaland in the far north) of women farmers; and how compassionate and tuned in she is to the immigrant experience.
