The 6th century Sharada Temple has played a significant historical role in Kashmiri Pandits' religious culture. It is believed to be the earliest shrine dedicated to Shaktism or the Hindu Goddess worship in Kashmir.

After the partition of India, Sharda Peeth came within the boundaries of Pakistan administered Kashmir. The original route which was popular before 1947 is via Kupwara, Chokibal, Tangdar (Karnah), and Teetwal up to Neelam River which is the Line of Control between the two parts of Kashmir in that area. Presently, a paved road is available up to Teetwal.

After the earthquake in 2005, a crossing point was established for divided families at Teetwal and a footbridge was constructed to cross the Neelam river (i.e. LoC) to reach Chaliana village of Pakistan Kashmir on the other side.

This work focuses on Teetwal Crossing and a desire to develop this corridor on the same lines as Kartarpur Corridor - a religious corridor open to day piligrims who do not require visas from the Pakistani Embassy in New Delhi.

These works are part of a set. Please find specifications of the single artworks below:

1965
2018
Graphite on paper, coated in resin mounted on metal
21 x 30 cm
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Old GT Road
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm

These works are part of a set. Please find specifications of the single artworks below:

Untitled I
Graphite and resin on paper mounted on wood
10 x 10 cm
|
Tower I
2020
Graphite and resin on paper mounted on wood
10 x 10 cm
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BRB Canal
2018
Graphite and resin on paper mounted on wood
10 x 10 cm

These works are part of a set. Please find specifications of the single artworks below:

Almaty 8
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm
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Almaty 4
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm
|
Almaty 5
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm
|
Almaty I
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm
|
Almaty 6
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm
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Almaty 3
2019
Graphite and resin on paper, mounted on wood
13 x 13 x 4 cm

These works are part of a set. Please find specifications of the single artworks below:

NJPP
2020
Water-soluble graphite on paper coated in resin
15 x 20 x 4 cm
|
Gurez 1
2020
Water-soluble graphite on paper coated in resin
13 x 13 x 4 cm
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Gurez 2
2020
Water-soluble graphite on paper coated in resin
13 x 13 x 4 cm
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KHPP
2020
Water-soluble graphite on paper coated in resin
13 x 13 x 4 cm

Qizilbash has traveled extensively through Central Asia and Eastern Europe documenting and framing images that reminisce post-human scenarios. Many of these compositions are Soviet-era structures that depict aloneness and isolation. The current graphite drawings are images recorded in Almaty, Kazakstan. Previous locations in this series were: Uzbekistan, Azerbaijan, and Georgia.
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These works are part of a set. Please find specifications of the single artworks below:

Almaty 9, Almaty 2, Almaty 11, Almaty 7, & Almaty 1
2019 - 2020
Graphite and resin on paper mounted on wood
13 x 13 x 4 cm each

On September 6, 1965, a brief yet significant battle was fought in the outskirts of Lahore at the banks of the Ichhogil Canal. This canal runs parallel to the border between Pakistan and India and is an extension of the famous Lahore Canal.

There are varying accounts of what unfolded and how deep the opposing forces transgressed. However, the fact remains that blood was shed and lives were lost in an attempt to redefine the boundaries of the two nations. These two books (Volume One and Volume Two) act as war diaries boiling down the events of the day in the form of collapsed bridges and bombed homes.

Stripped of heroic narrative and lengthy battle descriptions, the images tell their own story of gain and loss.

On September 6, 1965, a brief yet significant battle was fought in the outskirts of Lahore at the banks of the Ichhogil Canal. This canal runs parallel to the border between Pakistan and India and is an extension of the famous Lahore Canal.

There are varying accounts of what unfolded and how deep the opposing forces transgressed. However, the fact remains that blood was shed and lives were lost in an attempt to redefine the boundaries of the two nations. These two books (Volume One and Volume Two) act as war diaries boiling down the events of the day in the form of collapsed bridges and bombed homes.

Stripped of heroic narrative and lengthy battle descriptions, the images tell their own story of gain and loss.

This artwork depicts segments of the Grand Trunk Road that connects Afghanistan, Pakistan, India, and Bangladesh.