Nadia Waheed (Pakistani, 1992) - A Fundamental Archetype (2023)

Salman Toor, Fag Puddle with Book and Sneaker, 2022

Charcoal, ink and gouache on paper, 12 x 17.75 in

Salman Toor (Pakistani, 1983), Male Audience, 2018. Oil on panel, 42¼ x 42¼ in.

Salman Toor - Two Boys with a Dog (2020)

Toor’s scenes possess a kind of solemnity or quietude that does not suggest equilibrium so much as tender regard. Toor’s protagonists, obvious stand-ins for the artist himself, at least at an earlier moment in his life, seem held in suspension between two worlds, Old and New, never entirely at home in either. But he also holds them at emotional arm’s length, as if these images were tempered by time, less observations than memories, and they begin to assume the lineaments of archetype, despite their depiction of technology à la mode.

(Many of the pictures have an overall green palette, appropriate, perhaps, for the nocturnal illumination of bars or apartment parties—although more readily suggesting fin de siècle gaslight—but also reminiscent of the discoloured varnish of old paintings hanging for generations in smoke-filled drawing rooms.)

on Salman Toor

Areesha Khalid

close up of recollection by rashid rana, 2016 - 2017, print + diasec, 272 x 224 centimeters

Seal with Unicorn and Inscription, c. 2000 BC. Pakistan, Indus Valley civilization.

Abdur Rahman Chughtai (1894-1975) - Arjuna

daakvaak: Love this painting of two women lost in intimate conversation by Abdur Rahman Chughtai Image: University of Toronto Archives

(via daakvaak on IG)

Nadia Waheed (Pakistani, 1992) - Sleep's Twin Brother (2024)

Salman Toor Painting queer friendships

Salman Toor (Pakistani, 1983), Immigrant Gathering, 2016. Oil on canvas, 122 x 81.5 cm.

Salman Toor - The Green Room (2019)

Wishing all Pakistani’s a Happy 14th August 🇵🇰💚

Pakistan National Anthem (Retro 80’s Synth Cover)

Areesha Khalid