ARTIST STATEMENT

I approach painting as an encounter rather than an object: a situation that stages uncertainty and asks the viewer to stay with it. I first learned to look at painting across distance—through reproductions, books, and screens that promised immediacy but delivered fragmentation. In response, my studio practice has become a refusal of quick consumption. I want the viewer to feel time being made inside the picture: attention assembling space, and space returning attention.

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Moving between Pakistan, Germany, and the United States, and training in both Studio Art and Architecture, has made “tradition” feel less like iconography than procedure: something carried, translated, and revised; a way of thinking in thresholds, compressions, and seams – the liminal space.

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I share the suspicion of revivalism, but I also want to rescue what matters in that history: painting as an arena for attention, where ambiguity is not an aesthetic pose but a form of honesty and rebellion from the illusion of the “globalized”, “peaceful” present.  Ultimately, my goal is to build a body of work that insists on attention: paintings that do not resolve into a single reading, but keep offering a rigorous, vulnerable encounter with complexity and personal register.