 of work in a series that focuses on courtyard and different intersection points. So that basically looks at the idea of what memory and nostalgia is with its intersections or with science fiction and personal histories. I do have a love of particular courtyard spaces based on my childhood growing up in Belgium and in London. In between that, my parents used to take me back to Pakistan and I got familiar with particular types of courtyard spaces there as opposed to very urban European spaces within the urban or within the city fabric. For me, there are particular courtyard spaces that do stand out. One is the Alhambra in Spain, the Grand Place in Brussels where I grew up for about seven, eight years, and particular mosque complexes when I used to go back to Pakistan. And for me, the play on public and private spaces was critical in the work in terms of choosing a particular sacred space as the center of a courtyard where the tombs are represented. And that idea was not so much as any particular tomb, but the idea of impermanence and transformation. And that is also where the symbols fall into play, where one of the symbols, the cube and the cross, actually focus on this idea of transformation and impermanence, where the cube is a particular geometry, its symbolic meaning in terms of its universal connections, and in particular with this in terms of its Islamic iconography. But for me, it wasn't so much in terms of the Islamic symbol as something where a geometry appeals to a particular mass of people or a particular community. And that cube, geometrically, when it is unfolded, becomes the form that is this particular one, that is the cross. This particular form does repeat itself. Impermanence and transformation does come about with the idea of what physics can do. Things deconstruct and then reconstruct themselves. They're things that are breaking away, explosions and smoke. It's sort of the language of change and destruction in a way. But it's always done with the idea of things or materials reconstructing themselves. And the symbol of the cube, which I really wanted to play around with, was one where it has this iconic image both in terms of Islam and also in terms of a very simple geometry. And it was through the power of what a simple geometric form can become, which is what I wanted to play around with. And the cubes, basically, for me, I wanted to see how I could sort of break that simple open or there are multiple forms coming out of a particular symbol. And there's smoke, there's explosions, and it sort of goes into the realm of science fiction, which is, I like the idea of utopian drawings, courtyard spaces, and the intersection of science fiction.