My practice is rooted in exploring Pakistan’s railway stations built during the British Raj and the experiences they hold. One can step back in time and sense a quiet timelessness. I see the railways as sites of constant life and movement, where everything seems to flow into one continuous rhythm.
My practice explores transitional emotional states and the quiet, often overlooked moments that exist between certainty and change. Working in an impressionistic style, I focus on atmosphere, gesture, and light rather than rigid detail, allowing emotion to remain fluid and unresolved.
My work explores the bittersweet yearnings of the past. Since my school days, I have carried a camera to capture fleeting moments, an attempt to preserve and relive them. Through my artistic practice, I revisit these experiences, translating their emotional depth into visual form. The postcardsized paintings recall an era when photographs were developed and held as tangible memories.
The delicate intersection between memory, decay, and the passage of time. I aim to capture moments that exist in the liminal space between presence and absence, where the echoes of life linger, even as they fade. The works investigates materiality, surface, and the slow erosion of form through a restrained and deliberate process.
This work explores the intersection of human identity, nature, and historic courtly portraiture. By replacing the facial identity of traditional Mughal-inspired figures with vibrant, geometric flora, the piece reflects on how human presence merges with natural environments. It transforms the figure from a specific individual into a universal symbol of growth, rootedness, and elegance.
Marsiya-e-Shajar mourns the loss of plant life in Nasir Bagh as a result of the ongoing plaza development project. The booklet contains images of plants embedded within layers of cement, referencing both construction and burial.
Alter reflects the fragmented nature of identity and the continuous process of becoming. The multiple exposures capture fleeting versions of the self, revealing how memory, emotion, and lived experience coexist within a single moment. The chair serves as a quiet anchor, while the shifting figure speaks to transformation, vulnerability, and the search for balance.
Through my visual journey I aim to discover the complexities of emotion and experiences. Either bold or delicate, each stroke expresses interplay of light and shadow, certainty and uncertainty and so on. Through my creations, I affirm to evoke introspection and curiosity, inviting viewers to explore their own interpretations and connections.
What we learn to hide. Society often tells us to keep parts of ourselves concealed. Because of judgment and pressure, we end up feeling fragmented inside.
This artwork explores the receding waters of Attabad Lake, astark reality driven by global warming. Using a transparent acrylic sheet, I have painted two contrasting layers. The front side displays the river as it shrinks today, shallow, dwindling, and altered. On the back, I painted the vibrant flow where it once rushed.
Bridging the gap between the past and the future, my practice depicts the merging of technological advancements (AR and VR) and still art. I have been successful in creating an artistic dimension where my paintings through the use of Augmented Reality, portray my ideas inaction, brought to life, right in front of the human eye.
My work explores the lingering presence of history within contemporary spaces, tracing the silent dialogue between past and present. By reimagining traditional narratives within shifting environments, I examine how memory, identity, and human connection endure beyond their original time.
