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Solo Shows

Fractured Vision explores the soul split by conflict. Using gypsum and shattered mirrors, it shows how reality fragments our identity. The artwork is incomplete without the viewer; standing before it, your reflection breaks into shards, making you part of the piece. Yet, this is not about despair. Each broken mirror shard retains the power to catch and scatter light, balancing deep brokenness with enduring hope. It proves that from our deepest fractures, new light and healing emerge.

Fractured Vision

Balqees Aesar Al jaramani

I view art as a safe haven to express our souls honestly. Evolving from foundational clay to shattered mirrors and threads, my practice captures human resilience, seeking absolute truth and a peaceful commentary on surrounding realities.

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CITIES TELL ME STORIES explores the emotional landscape of contemporary cities through abstraction. Inspired by urban rhythm, light, movement, and fleeting moments, the paintings transform architecture into memory and atmosphere. Palette knife gestures and rich impasto dissolve the physical city into expressive forms, inviting personal interpretation. Each canvas reveals the unseen conversations of urban life, where every city becomes a story of shared human experience.

CITIES TELL ME STORIES

Anand Swaroop Manchiraju

Creation unfolds through exploration, patience, and quiet discovery, where process and outcome become inseparable. Within this evolving journey, art emerges as a space of freedom, reflection, and authentic expression.

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Landscape is approached here as a space of emotional and psychological experience rather than physical description. Familiar elements dissolve into imagined environments where memory, presence, and absence coexist. Moving between the domestic and the natural, the works invite reflection on how places are remembered, transformed, and carried within us, revealing the shifting relationship between our inner world and the spaces we inhabit.

Utopia

Eri Papadopoulou

In this body of work, I explore place, memory, and identity. Through real and imagined landscapes, I create psychological landscapes that blur reality and memory, exploring belonging, absence, and connection to the surrounding world.

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A Life in Circles is a series of four self-portraits that traces over a decade of living with endometriosis, adenomyosis, endometrial hyperplasia, and PCOS. Created following my hysterectomy and excision surgery, the third surgery I underwent in four years, at the age of twenty-nine. The works reflect on the physical and emotional realities of chronic illness and the long journey towards being believed. Drawing on domestic spaces, embroidered thorned vines, circles, drains, and fragments of memory, the series explores pain, repetition, loss, resilience, and survival. These recurring motifs mirror the cyclical nature of chronic illness, where symptoms return, bodies are repeatedly scrutinised, and recovery is rarely linear. The home becomes both a place of refuge and confinement, while embroidery serves as a slow, repetitive act of recording experiences that often remain invisible. Each self-portrait marks a distinct chapter. The First Flood/21 revisits the confusion and fear of the first symptoms and the beginning of years without answers. Morning After Morning/26 reflects the recurrence of pain after surgery and the quiet isolation of living with an invisible illness. The Breaking Point/28 captures the emotional and physical exhaustion that preceded my decision to undergo a hysterectomy, as the body became increasingly consumed by pain. What Remains/29 brings these fragments together, acknowledging the scars that remain while reclaiming them as evidence of endurance rather than defeat. This body of work is both deeply personal and profoundly collective. It speaks to the countless people whose pain has been minimised, dismissed, or misunderstood. A Life in Circles is not only an archive of illness but also a testament to survival, asking what evidence is required to prove suffering and what becomes possible when lived experience is finally recognised. Through these works, I invite viewers to reflect on the hidden realities of chronic illness, the politics of visibility, and the quiet resilience of bodies that continue despite everything.

A Life in Circles

Kavya Sharma

My practice explores memory, identity, and lived experience through textiles, drawing, and installation. Using repetitive processes and material storytelling, I investigate themes of care, resilience, and transformation, creating spaces for reflection on the relationships between body, place, and the narratives that shape our everyday lives.

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This exhibition approaches stories never told fully: a fractured trace, a city whispering from afar, a memory caught between what was lost and what survived. Through layered light, texture, and silence, I reimagine what is no longer visible, offering each fragment the warmth and quiet presence it deserves.

Memory of Light

Esraa Alhariri

I work with what hides behind the trace: a shadow of a story, a vanished touch, a memory that breathes despite absence. I gather what slips through time and reshape it, giving unfinished stories warmth and space to return.

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While making these faces I don’t look at any faces, which is why these faces look like these faces. Drawing inspiration from my memory. (drawn to the idea) withholding any interaction with images so that they don't influence my view on how the camera sees the faces. I want it to come from my retained memory. A memory could be flawed, but they also let me remember the faces of what I witnessed, rather than the perfection of the imaged faces. Which is why, While making these faces, I don’t look at any faces, which is why these faces look like these faces While the person is smiling at me, because I notice the bridge of a strong nose, the fold of the skin on the bridge is what really tells me that the person is happy around me, not the smile, only when the fold comes through because the person is grinning so wide this is to preserve that. They are all being drawn from the memory, like being drawn from the soul. Which is what might remind you of someone you might know. Which is why, while making these faces…. I don’t look at any faces, which is why these faces look like these faces.

murabba

shreya zingh

I paint portraits, landscapes and architectural extravagances solely from memory, using walnut oil and archival oil paints on cotton and MDF. This is for peeps who want to enter my mind.
Every face is painted, feel free to find someone you once knew.

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This photograph explores the fragile presence of peace within darkness and uncertainty. Through intentional motion blur, low light, and layered blue tones, I aimed to create a dreamlike atmosphere that reflects emotional stillness hidden within chaos. The distorted imagery mirrors the fleeting nature of inner peace—never fully clear, yet deeply felt. Rather than documenting reality, the piece captures an emotional state suspended between silence, movement, and reflection.

Peace within Chaos

Palistha Shrestha

My work reimagines reality through blur, motion, and light. Drawing from personal perception and cultural narratives, I create dreamlike imagery that explores memory, emotion, and the beauty found beyond perfect clarity.

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My work explores internal states of restriction, control, and psychological pressure, often reflecting broader social and political conditions. In The Rope, I focus on the tension between burden and resilience, portraying the ways in which individuals navigate forces that constrain them—physically, emotionally, or socially. I am interested in moments where the body or mind appears contained, and how subtle visual elements can evoke the possibility of release, resistance, or quiet endurance.

The Rope

Rasha Abo Zedan

Working primarily with digital media and a conceptual visual language, I rely on careful composition, lighting, and form to convey these psychological and emotional narratives. Each piece invites the viewer to engage with both the heaviness of restriction and the quiet strength of persistence.

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My work is inspired by everyday feelings that we all experience. I mostly use oil paints to create my paintings, trying to show real expressions and moments that can connect with people. Through my art, I want to make viewers feel something natural and genuine, and remind them of the emotions we sometimes overlook in daily life.

Echoes of The Inner Self

Hadia Rizwan

I’m Hadia Rizwan, a Pakistani Fine Arts graduate from the University of Gujrat in 2025, where I completed my BFA with distinction. My primary medium is oil painting, and I focus on creating realistic artworks that reflect the emotions and quiet beauty found in everyday life.

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My creative process is rooted in observation, intuition, and the free movement of color. Color in my paintings is not merely decorative; it carries energy, emotion, and meaning. A fluid balance forms between personal narrative, symbolism, and imagination, allowing each work to invite multiple interpretations. I do not believe in limiting myself to a single subject or fixed mode of expression. The diversity of themes is a natural part of my ongoing exploration in painting; a path in which the image becomes my primary language for thinking and inner expression.

Not Just a Cow

Parastou Azizi

Painting is a safe space for me to think through images.
My works are conceptual and take shape as series, each centered around a different subject. Each series emerges as a response to a lived experience, an inner question, or an intuitive encounter with the world around me.

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© 2025 by no.35 Art Gallery. 

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