Komail Aijazuddin’s paintings are not perfect as far as the level of drawing is concerned; there is a lot of repetition of theme and most surfaces are under-painted. But these works do indicate an aspect of our existence that has been easily forgotten. One finds human bodies placed against Islamic geometric patterns, both ending in drips. These figures vary in terms of their identity — ranging from divine deities to ordinary characters from around us.

Read More: Reasserting Another Past