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Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.

Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.

Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.

My snowscapes of Kashmir titled ‘Firdaus bar ru-yi Zamīn’ depict the majesty of the snow clad mountains of Gulmarg. Verdant fir trees, dusted with white powder glistening with the different hues of the mountain sky, stand out upon the canvas. Together, with the rising mountain peaks and the seemingly infinite firmament beyond, the vistas truly feel like a paradise on earth. .I re-create semi-abstract impressions of what my eyes witness. I use the term re-create with the firm belief that the beauty inherent to such landscapes is by virtue of their creation at the hands of the Almighty. I am simply re-creating them on a canvas in a humble, yet artistic, manner of emulation. For the main compositions, relying on vivid memories as well as my own photos, I indulge in some artistic liberty with the placement of the flora and the use of colors. .In some of my works, I make use of heavy gels and acrylics to create thick textures on the mountain’s surfaces to signify their solidity, the solidity of existence. These massive monuments, their beauty and breath-taking majesty, are testament that the Almighty has created everything with a purpose: “Our Lord! Thou created not this in vain. Glory be to Thee (Quran 3:191).” . The use of Japanese watercolours in composing the fir trees compliments the heavy acrylics by adding an air of lightness. It also, simultaneously, contrasts with the heavy mass of the mountains alluding subtly to the notion of seeking spiritual enlightenment and loftiness while ridding oneself of the burdens of the corporal, material world. It is in this state of unburdened spirituality where happiness is found, nay, happiness reigns.

My snowscapes of Kashmir titled ‘Firdaus bar ru-yi Zamīn’ depict the majesty of the snow clad mountains of Gulmarg. Verdant fir trees, dusted with white powder glistening with the different hues of the mountain sky, stand out upon the canvas. Together, with the rising mountain peaks and the seemingly infinite firmament beyond, the vistas truly feel like a paradise on earth. .I re-create semi-abstract impressions of what my eyes witness. I use the term re-create with the firm belief that the beauty inherent to such landscapes is by virtue of their creation at the hands of the Almighty. I am simply re-creating them on a canvas in a humble, yet artistic, manner of emulation. For the main compositions, relying on vivid memories as well as my own photos, I indulge in some artistic liberty with the placement of the flora and the use of colors. .In some of my works, I make use of heavy gels and acrylics to create thick textures on the mountain’s surfaces to signify their solidity, the solidity of existence. These massive monuments, their beauty and breath-taking majesty, are testament that the Almighty has created everything with a purpose: “Our Lord! Thou created not this in vain. Glory be to Thee (Quran 3:191).” . The use of Japanese watercolours in composing the fir trees compliments the heavy acrylics by adding an air of lightness. It also, simultaneously, contrasts with the heavy mass of the mountains alluding subtly to the notion of seeking spiritual enlightenment and loftiness while ridding oneself of the burdens of the corporal, material world. It is in this state of unburdened spirituality where happiness is found, nay, happiness reigns.

My snowscapes of Kashmir titled ‘Firdaus bar ru-yi Zamīn’ depict the majesty of the snow clad mountains of Gulmarg. Verdant fir trees, dusted with white powder glistening with the different hues of the mountain sky, stand out upon the canvas. Together, with the rising mountain peaks and the seemingly infinite firmament beyond, the vistas truly feel like a paradise on earth. .I re-create semi-abstract impressions of what my eyes witness. I use the term re-create with the firm belief that the beauty inherent to such landscapes is by virtue of their creation at the hands of the Almighty. I am simply re-creating them on a canvas in a humble, yet artistic, manner of emulation. For the main compositions, relying on vivid memories as well as my own photos, I indulge in some artistic liberty with the placement of the flora and the use of colors. .In some of my works, I make use of heavy gels and acrylics to create thick textures on the mountain’s surfaces to signify their solidity, the solidity of existence. These massive monuments, their beauty and breath-taking majesty, are testament that the Almighty has created everything with a purpose: “Our Lord! Thou created not this in vain. Glory be to Thee (Quran 3:191).” . The use of Japanese watercolours in composing the fir trees compliments the heavy acrylics by adding an air of lightness. It also, simultaneously, contrasts with the heavy mass of the mountains alluding subtly to the notion of seeking spiritual enlightenment and loftiness while ridding oneself of the burdens of the corporal, material world. It is in this state of unburdened spirituality where happiness is found, nay, happiness reigns.

This artwork celebrates the grand pillars that adorn the bays of al-Jami al-Anwar. The interplay of light and shadow in the aisles symbolises the victories and trials of one’s faith.