Richard Taittinger Gallery is thrilled to announce the exclusive representation of Maria Qamar (@hatecopy) in both the United States and the United Kingdom.

Maria Qamar was born in 1991 to an Indian mother and a Bangladeshi father. Right before her teenage years, she moved with her family to Toronto, Canada where she faced relentless bullying in the aftermath of 9/11. In 2017, Qamar started her breakthrough career with social media and the publication of her book “Trust No Aunty”.

Qamar broke into the New York art world with her first physical solo exhibition “Fraaaandship!” at Richard Taittinger Gallery in August of 2019, which boasted an attendance of over 4,000 people on the opening night. New York Times Journalist, Alisha Gupta, described Qamar and her first show as a “Colorful, politically engaged Instagram feed brought to life.”

Her second New York show, scheduled for Spring 2020 was canceled due to the Covid-19 Pandemic. Richard Taittinger Gallery adapted to hold the “Me, Meraself and I” exhibition online via a 3D platform opening on July 9th in 4 different countries (New York at 9 a.m., London at 3 p.m., Mumbai at 6:30 p.m., and Tokyo at 10 p.m.). This pioneering approach to viewing art installations helped Qamar engage with more audiences across the world. Sarika Sharma, from The Tribune India, described her work as “straight out of comic books” and detailed how relatable her approach was not just to a Desi audience, but an international one.

In March 2022, Qamar had her first museum show at MOCA Toronto titled, “Dhamakedar Superstar!”. Qamar has not taken a break from her craft and has continued to be featured in a variety of museums, festivals, auctions, and exhibitions. Known for her defiant and bold art style, she has made a career through mural painting and a dynamic social media presents. She has been featured in a variety of locations including: Muralfest, MOCA, and the Harbourfront Center.

“Bloody Phool” translates in Hindi as “Bloody Flower” and phonetically in English as “Bloody Fool”. This exhibit primarily focuses on betrayal, feminine rage, PTSD, and psychedelics. For her new solo exhibition, Qamar explores the imposed role of female protagonists in Bollywood traditions, as well as the idealized view of womanhood presented within them. Drawing inspiration from the Bollywood industry that Qamar grew up on and identifies with, the exhibition showcases collages with various Bollywood DVD covers and posters generously donated by fans.

Building on her heritage and childhood, Qamar explores an awareness and understanding of the complex depiction of femininity and sexuality within Indian art forms. The inclusion of her works in tandem with Bollywood imagery reveals a tension between the fantasy and the reality. Thus, forming a rift between perceptions of women in relationships and the outcomes of deception and feminine rage.

Each piece tells a different story of deception and lies that Qamar feels her audience can relate to. In typical fashion, she has elected to transform the actual gallery into a completely immersive space that allows the viewer to completely immerse themselves in the rage-fueled narrative of red walls, a color indicative of celebration, violence, or sometimes — in Qamar’s words — both.

With the experience of working with artists like Shepard Fairey, Jingyi Wang, and more, Qamar has continued to make a name for herself and proven her style is highly sought after and here to stay. Catching the attention of talents and celebrities like Mindy Kaling and Naomi Osaka, Qamar has demonstrated that there is an interest in her unique take on South Asian standards and artforms. She has elevated her artwork and notoriety while still holding true to her Desi roots, playful colors, and pop-artesque feel.