Peeking into the Mosque

In my thesis showcase, titled "Liminal Dialogue: Navigating Transitions Through Liminal Spaces," I embarked on a visual journey exploring the concept of liminality. This series of paintings dives deep into the feeling of being in-between—of not quite here, yet not quite there.

I chose to work with glass painting for this project because it beautifully mirrors the idea of liminality. The transparency and reflective qualities of glass allow me to play with layers and depth, capturing the fleeting and uncertain nature of transitional moments.

The first painting in this series, "Peeking into the Mosque," holds a special place in my heart. It symbolizes the start of my own journey through liminality—a time when I sought solace and peace within the walls of sacred spaces.

As a child, I always wondered what it would be like to step inside a mosque. That longing for tranquility stayed with me into adulthood, especially during times of uncertainty when I found myself searching for answers. In Pakistan, cultural limiting beliefs often dictate that women do not frequent mosques for prayer, despite it being allowed in Islam. This societal construct added an extra layer of longing and curiosity to my desire to experience the sanctity of these spaces.

Capturing this vision wasn't easy. I tried to recreate it from memory, but something was missing. So, I turned to the work of a photographer whose images resonated with me—Mobeen Ansari, a Pakistani photographer. His work helped me to bring my vision to life, infusing the painting with the authenticity it deserved.

"Peeking into the Mosque" isn't just about my personal journey—it's an invitation for others to reflect on their own transitions. It speaks to the beauty and complexity of liminal spaces, reminding us that even in uncertainty, there is room for growth and discovery.

As I continue to explore the boundaries of art and emotion, I'm reminded of the power of storytelling through visual expression. Each brushstroke is a step closer to understanding the liminality that defines us all.

When I stumbled upon the photo that sparked the genesis of "Peeking into the Mosque," it felt like rediscovering a long-lost memory. The beautiful mosque in Bhit Shah, Sindh, Pakistan, captured in its serene magnificence, immediately struck a chord with me. The angle of the shot perfectly mirrored the way I used to gaze into mosques during moments of introspection.

The colors, especially the bright green archway symbolic of Islamic architecture, flooded my mind with nostalgia. But it was the symbolic light in the photo that truly mesmerized me. It seemed to illuminate not just the mosque, but also the essence of transition and possibility that I sought to capture in my thesis.

Rather than simply replicating the photo, I opted to infuse it with my own interpretation. I kept the layout and essence intact, but allowed myself the freedom to experiment with textures and relief work. Painting on plexiglass introduced an intriguing dimension, as the interplay of light throughout the day added a dynamic quality to the piece.

In terms of technique, I delved into uncharted territory by combining oil painting with glass painting methods. Chiaroscuro techniques helped me masterfully craft the symbolic light reflection, while scumbling added depth and texture, particularly to the foreground. Glazing, with its ability to build up layers of translucent color, became my secret weapon, imbuing the painting with a captivating luminosity.

Undoubtedly, the journey wasn't without its challenges. There were moments of frustration and setbacks, but each mistake became an opportunity for growth. And in the end, the result surpassed my wildest expectations—a testament to the transformative power of artistic exploration and the infinite possibilities of liminal spaces.

These series consisted of 6 paintings, and I can't wait to share about all those paintings soon, one by one, so stay tuned, readers. Each piece holds its own story and significance, and I'm excited to journey through them together.