Fahiem Ul Haq Abdullah

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Drawing inspiration from hidden languages and the subtle nuances that make them impactful, Fahiem uncovers the potential of drawing, sculptures, and installations. They challenge the authority of paper itself, showcasing how it can be both a weapon of conflict and a conduit for resolution. While often overlooked, the paper becomes a powerful means of expression, mirroring the dichotomy that defines the lives of those struggling within the legal confines of the constitution.

Veil language” emerges, akin to discovering a vast vocabulary capable of addressing multifaceted issues. This intricate visual language becomes an empowering tool for artists, particularly those hailing from minority backgrounds, affording them the liberty to authentically articulate their thoughts. Minorities often bear the weight of suppression and persecution, ensnared within constitutional loopholes designed to marginalise them.

Beneath the veneer of this authoritative white paper lies the exploration of artistic mediums such as Drawing, Sculptures, and Installations. These forms become vehicles to scrutinise the power dynamics of written authority. If a paper can be instrumental in fomenting conflict, why not employ it to reconcile the very disputes it births? This artistic endeavour engages a “veil language,” one that veils the messages within layers of meaning, aligning with the constitutional complexities.


“Outlawed by birth, is that the life I chose.”
Fragments of Faith
The work show how an information can be manipulated and distorted to create a new meaning. The paper sculpture are calculated Muqarnas blocks which are being isolated from their contribution of a muqarna inside dome of a mosque. These blocks when joined properly forms a seamless ceiling pattern which is like a honeycomb vaults. Size: 176x120x119 cm Mono tone printer paper copies
Work Credit: 
Fahiem Abdullah
Blood letters
These letters takes me back to the time when I was in Pakistan and we received threatening letters from unknown sources because we belong to a different sect. Time when my family faced hate from neighbour. The letters were sent with the name of my mother and telling that they know the routine of people of house and they will harm us.
Work Credit: 
Fahiem Abdullah

Born in Quetta, Pakistan, Fine Arts Graduate from BUITEMS, Quetta and currently conducting MFA in Fine Arts from Kingston School of Arts, London.

My artistic practice canters around Islamic geometric patterns, exploring themes of spirituality, cultural identity, and trauma. As a member of the Ahmadiyya Muslim community, I have been deeply influenced by the history of my community's persecution and the traumatic events that have shaped our collective identity.

Through my work, I aim to create a dialogue between the traditional Islamic art forms and contemporary art practices, highlighting the continued relevance and beauty of Islamic geometric patterns in a global context. My work is deeply personal. I draw, Sculpt and Paint from my experiences and emotions to create pieces that are emotionally resonant.

New York



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