Showing 126 canvas prints, calligraphies, and bespoke framed works.
فیض احمد فیض in crimson Nastaliq beneath a composed portrait, set against a brushed dark ground and lines of manuscript.
A hand-painted الله اکبر in thick black brushwork, straddling a hard vertical split between raw kraft brown and flat white.
A girl with her eyes closed and a quiet smile, dissolving into a nebula of pastel cloud, drifting stars and soft light.
وسیم اکرم caught mid-celebration under stadium floodlights, with the ball's swing traced as a green arc behind him.
ہوتا ہے، چلتا ہے، دنیا ہے — it happens, it goes on, that's the world — in chalky white brush lettering over a dusk-pink sky, purple moon and indigo mountains.
A girl sitting on the floor against a terracotta wall, face hidden behind a full afro, headphones on and a tan holdall at her feet.
فاطمہ جناح in gold beneath a dignified portrait, set against a crimson wash and a faint domed skyline.
A figure in a deep maroon burqa sips a tall glass of lassi through a yellow straw, against an electric blue field, with hand-lettered Urdu across the lower third.
A vast condensed 505 in bone on black, with I'm going back to set small in spaced capitals above it.
A woman in a cream wrap dress whose eyes are covered by an enormous crown of peonies, dahlias and ranunculus, against deep teal.
قائدِ اعظم in crimson beneath the familiar portrait in karakul cap and suit, on aged paper with fine architectural linework.
A blindfolded figure crowned with marigolds and roses, surrounded by a swirling cloud of hand-drawn Urdu words — عشق، اداسی، دھوکا، دل برباد — on aged paper.
A woman in profile with her hair drawn back, holding a loose garden bouquet of tulips, garden roses and gypsophila that hides her face.
SOFT GIRL ERA in a tall rose serif, under a satin bow, with fine botanical linework and scattered sparkles on blush pink.
بھاڑ میں جاؤ — bluntly, go to hell — delivered with total composure by a woman in cat-eye glasses and a cream blazer, on a burnt orange gradient.
علی ولی الله repeated across the full canvas in interlocking black and crimson Thuluth, layered until the words become pattern.
A woman seen from behind in a black dress and cream wrap, her eyes veiled, set against a deep crimson circle edged in gold leaf.
PRETTY LITTLE THINGS set among a single rose, a ribboned perfume bottle, pearls and a handwritten note on blush.
دماغ شاٹ نہ کریں، شکریہ — please don't fry my brain, thank you — hand-painted in white script across a red and yellow stop sign.
A woman in a wide black hat and leopard-print jacket, seated at a table, painted in heavy palette-knife impasto on olive and oxblood.
DEAR DIARY across an open journal, with a rose, a wax seal, pearls and scattered petals on soft blush.
A woman in a tall patterned headwrap lifting a cup in both hands, the steam curling past her face, built entirely from broken colour.
LOVE NOTES above a cream envelope closed with a wax seal, surrounded by dried roses, pearls and a trailing ribbon.
Two arms reaching across a hard vertical divide — one pale, one black — meeting in a hug that closes the gap between the halves.
