Fiza Khatri explores the many machinations of self (both as subject and object), enunciating it not as a form of portraiture but of landscape. Not as a person but as a place. The difference is telling. The act of abbreviation denies the surface its ‘who’, instead amplifying its ‘how’ and ‘why’.

Khatri’s surfaces begin to sing as an abstraction which, by extension, allow the subject as sign to take a variety of directions and dimensions of signifier and signified. The viewer is thus reminded by Khatri that all we observe is merely a painted support. The subject and its (now abandoned) figuration is thus remoulded into a space that ebbs between noun and verb, between flesh and fiction. This disentanglement from any shape of figuration serves to nurture the possibilities of a larger temple to selfhood – so eloquently provided under Khatri’s clever direction.