Mahi
KOUR
Echoes of emotions
in shades of solitude
Sadiyon invites viewers to reflect on the journeys we undertake in our minds and the lasting marks we leave in our wake.
The fish, a symbol of intuition, adaptability, and life’s fluidity, metaphorically swims through the one's thoughts and generates a school of memories and experiences as it passes through one’s conscience, intertwining personal growth with a broader, more universal sense of continuity harmony and influence.
Humraaz invites the viewer to contemplate relationships—both external and internal. Who do we trust with our deepest fears and desires? Is it another person, or perhaps a hidden part of our own psyche?
It juxtaposes closeness with heightened awareness within the self or perhaps even an internal dialogue where one’s consciousness finds solace in another part of the self, a gateway into inner emotions or unspoken truths.
Khandaan visually explores the deep-rooted connections within a family.
The grey faces, arranged in a circular, almost womb-like pattern, symbolize individuals bound by the same lineage.
Here, the family is not portrayed as a flawless, harmonious entity. Instead, it is shown as something complex, where love and sacrifice coexist in a delicate, interdependent balance.
Dekh depicts a surreal, dream-like landscape where eyes merge with faces and necks, growing organically from the ground. This imagery evokes an unsettling yet compelling atmosphere, emphasizing the multiplicity of perspectives symbolized by the repeating eyes. These eyes represent unique viewpoints, suggesting that every observer carries their own vision of the world.
The omnipresent gaze reflects themes of observation, perception, and surveillance, highlighting how different perspectives shape reality.
The artwork challenges viewers to embrace the subjective nature of perception, encouraging them to see the world through various lenses and appreciate the complexity of human experience.
At the heart of the composition, two faces are tenderly intertwined, their expressions peaceful and serene. Sitamgar invites viewer to rethink the conventional meanings of surrender and control. Their proximity and the flowing nature of their forms evoke a sense of unity and mutual surrender, a willingness to let down walls and open oneself entirely to another part of self.
This "oppression" is a metaphor for love's ability to break through emotional walls, dissolving the boundaries that separate two souls. It suggests that sometimes, the act of giving oneself over to love can be a profound and positive experience—one that leads to personal growth, healing, and deeper connection.
Abaad presents a visual metaphor for the continuous and cyclical movement between the conscious and subconscious mind.
The conscious mind, depicted as the more defined, visible figure, embodies our waking thoughts, deliberate actions, and logical processes. In contrast, the dark head represents the subconscious, the space of dreams and repressed emotions.
Just as one thought or state of being fades, another emerges from the depths of the subconscious, creating an endless feedback loop. This process reflects the human condition—a perpetual journey between awareness and hidden impulses, between reality and the dreamlike states of the mind.
Suraj Mukhi represents inner freedom, which often seeks expression through the rise of new ideas, dreams, and possibilities.
Inner union gives birth to authenticity.
The inner child is not naïve, but sacred—a being of instinctual wisdom.
True balance in life requires both energies to nurture and protect the child within.
Janam speaks to the ongoing inner rebirths we experience when we reconnect with the unguarded self—free from fear, expectation, or conditioning. It is a reminder that healing, creativity, and self-realization begin with honoring this sacred inner child.
