“Art Creates Itself and We Are Merely Its Medium” — A Conversation with Mehran Ansari

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[dropcap]I[/dropcap] was raised in an environment where art and literature played a significant role in everyday life. I was particularly motivated by and exposed to great poetry and prose at an early age. The most fascinating aspect of my grandfather's books that intrigued me was their covers, which had exquisite calligraphy in old Nastaliq font, which prompted me to examine every design pattern they had previously used. I looked through practically every book in my grandfather's collection that had been decorated with intricate calligraphy that made each cover as unique as an original work of art.

I'm someone who has consistently been drawn to creating—whether it is software, logic, music, stories, or art. As a child, I loved designing my own little worlds, though I rarely shared them with others. Much of my childhood was spent between football and computers, which eventually led me to pursue a degree in Computer Software Engineering. Today, I work as a software engineer during the day and a creative director at night.

Art isn’t something I do—it’s something I am, or rather something that shapes me. When it calls, I answer, not as its master but as its humble servant. I simply bring to life whatever stirs my imagination—a fleeting thought, a story, a made-up scenario, or the raw truth of existence itself. Whether it’s God, spirituality, Farsi calligraphy, or hip-hop, I channel my ideas in their purest form. Sometimes they take shape as abstract artworks, other times as a story, or even as music.

The creativity that leads to such works is my catharsis, my way of making sense of the chaos within. I guard my originality fiercely—letting outside influences creep in would dilute the essence of what makes my art mine. It’s not about trends or expectations; it’s about honoring what insists on being created.

I create digital art because it hands me the keys to limitless creativity. Unlike paper, which has its charming but stubborn boundaries, digital tools let me bend, reshape, and reimagine without constraint. It’s not just convenient—it’s freedom with a stylus, where the only limit is how far my imagination dares to go.

Creative blocks are like wandering into a dense fog—unnerving and disorienting, the one true challenge that shadows the act of creation. When they creep in, I embark on a quiet quest: immersing myself in other works of art, studying their intricacies, and piecing together a storyline that feels uniquely mine. I pray—not just for clarity but for a purity of heart and freedom of mind, untainted by external noise.

Then, I allow myself to pause, to breathe, to step back and let inspiration find its way home. And when it does, I begin again—refreshed, unburdened, and ready to create with renewed conviction.

I’m deeply drawn to the Dionysian chaos of art, the intricate depths of analytical psychology, and the profound weight of words. Though I rarely write about my artworks, every piece I create is built on a foundation of language. Words, after all, are the genesis of expression.

Yet, words transcend their literal form. Even a single letter can pulse with symbolic power, carrying worlds within it. My imagination exists beyond the confines of language, in a space where words and images intertwine. My work is a constant pursuit of bridging that gap—bringing the ineffable into form, where the unsaid finds its voice.

I don’t see myself as a mere graphic designer—I see myself as a conduit for what I feel, unfiltered and unpolished. Lately, I’ve been delving into music, and it offers the same profound satisfaction as crafting a visual masterpiece. For me, the future lies in staying unwaveringly authentic to my imagination, allowing it to take whatever shape it demands—a story, a poem, an artwork, or a melody.

Collaboration, on the other hand, is a kind of alchemy—a creative chemical reaction where ideas collide, merge, and evolve into something entirely unique. There’s a thrill in exploring someone else’s vision, in testing the boundaries of thought through experimentation.

My artworks are not a mirror to my soul, nor do they define me as a person. I do not own them—they are but fleeting fragments of my imagination, whispers of how I momentarily perceive the world. They come, they go, like passing shadows. Today, I am the vessel through which they find form; tomorrow, it could be someone else.

The Alive in K II EP artworks were crafted to embody the essence of the EP’s core idea: the relentless pursuit of meaning, the delicate balance between simply existing and truly living. To be alive is not merely to breathe but to wrestle daily with the weight of existence, to strive toward something greater, whether seen or unseen, acknowledged or ignored.

In the background, the words labor endlessly, attempting to carve out meaning—an eternal struggle akin to the ceaseless flapping of wings that keeps a bird aloft. They rise and fall, striving, straining, yet never surrendering. This unyielding effort mirrors life itself; so long as you persist, so long as you refuse to give in to inertia, you are alive. In that constant striving lies the raw, undeniable proof of existence—a testament to the beauty and burden of simply staying in motion.

I strive to continue my creative journey across multiple disciplines, letting my imagination take shape in whatever form it chooses. Much of my free time is spent producing music and writing stories, diving deeper into its endless possibilities. Yet, every now and then, I find myself creating stories or designing artworks, giving life to ideas that demand a different kind of expression.

Each creation feels like a glimpse of something deeper, a moment where thought transforms into something different. Whether through music, visuals, or words, I aim to stay true to my imagination and let it guide me forward.

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Amjad: Greetings, Mehran. How are you today?

Mehran: Hello, Amjad. Thank you for inviting me; I am well.

Amjad: So our acquaintance stems from your contributions to Ahmer's EP Alive in K II, which subsequently piqued my interest in your art. For this session, beyond the artist statement you prepared for Inverse Journal, I propose a deeper exploration of your artworks by developing a conversation around each one. Perhaps you can start with a specific work and then we can see where this dialogue leads.

Mehran: Sure, Amjad. I would actually like to commence with my inaugural artwork, titled "Khadim E Fan." This piece signifies the genesis of my artistic endeavors. From an early age, I possessed a profound interest in calligraphy, independently studying Nastaliq. The inspiration for this particular work arose during a conversation with a friend regarding the impact of art on our culture and society. I humbly conveyed to him that I considered myself a "servant of art"—a "Khadim." This led to the conceptualization and the title for the work—"Khadim E Fan"—which translated from Farsi means "The Servant of Art." This work encapsulates my initial perspectives on the essential role that art plays in our lives as a medium that in its most sublime form can help us reach the divine. The work was created in January 2023, marking nearly two years since its inception. Prior to this, I had no experience with digital art. My entire process for learning to work with software such as Photoshop and Illustrator was based on self-teaching and independent exploration. As for the work, while its nascent qualities may be evident, I hold immense pride in having produced this piece, and consider it among the finest in my small oeuvre.

Amjad: Your journey seems to reflect a significant leap into learning and building self-confidence from an early practice that started as a hobby. Could you elaborate on the origins of your interest in calligraphy? You mentioned your grandfather as a substantial influence in your artist statement.

Mehran: Regrettably, my grandfather passed away before I was born. However, his work endured. Our home library contained books he authored, and his brother had published numerous volumes. I was particularly captivated by the old-school calligraphic cover art of these books. As a young child, my inclination was not towards reading, but the visual allure of calligraphy captivated me. This fascination led me to practice calligraphy independently, even creating impromptu "tattoos" for friends during my school years. Yet, throughout my childhood, my primary focus was football, and during my teenage years, computer science. Upon graduating, I pursued computer science and engineering as a course of study, and these academic and professional commitments largely overshadowed my artistic inclinations. It was only upon creating "Khadim E Fan" that I truly recognized the necessity of pursuing my artistic visions—to translate the myriad ideas within my mind onto a tangible medium and share them, primarily through Instagram. Whether my work is appreciated or not on the platform, it serves as a personal visual diary that I update routinely.

Amjad: This process of creation and self-expression, followed by connection, is truly remarkable. Do you possess knowledge of specific calligraphic movements within Kashmir, or are you aware of other contemporary artists who engage with calligraphy?

Mehran: I am familiar with a few older calligraphers, now in their fifties or sixties. My family's cultural tradition involved convening poets, scholars, and painters for intellectual dialogues. I recall observing an uncle of mine, who designed banners for maatams and conferences in Kashmir, and from whom I acquired some rudimentary techniques. However, I never formally pursued this towards a concrete end. While I knew these individuals, they were significantly older than me. Given the great isolation and solitude we face in our society, I am not acquainted with too many contemporary artists of my age who work with calligraphy. Nonetheless, Kashmir undoubtedly possesses a wealth of artistic talent, and I am certain similar works exist, though I may not be aware of their creators as of yet.

Amjad: Given your primary profession as a software engineer, it appears your artistic practice developed in a somewhat isolated manner as a deeply personal pursuit. Is this accurate? Do you perceive any common ground or semblance between your artistic endeavors and your work as a software engineer?

Mehran: Absolutely. The fundamental commonality lies in the inherent desire to create something distinctive. This drive connects my artistic output with the code that I write. For instance, in software design, particularly frontend engineering for websites, the objective is to build something functional and aesthetically pleasing. Both fields are rooted in this creative impulse, where the aesthetic gains a certain precedence. Currently, a significant portion of my free time is dedicated to music production given my association with some of the most pioneering artists and musicians in the Valley.

Amjad: Have you released any musical works yet?

Mehran: I have not released any works on an official basis as of yet, but I possess a substantial collection of demos.

Amjad: Could you describe the nature of your musical creations? Do you focus on beat-making or composition?

Mehran: I engage in both. I craft original beats and incorporate sampling. Following that, I undertake the compositional process to learn as much as I can.

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Amjad: I am intrigued by this particular piece. Could you provide some insight into it?

Mehran: This artwork fundamentally embodies the concept of "Wahdatul Wajood," the unity of oneness. My personal conviction is that all phenomena are interconnected. Philosophical discourse often distinguishes between necessary existence and contingent existence. In this composition, I have seamlessly merged elements: a mountain, derived from a photograph I captured from an aircraft, and a sea, from an image taken in Pondicherry. The fusion of these seemingly disparate geographical elements aims to visually articulate the principle that everything is ultimately one—the inherent beauty of oneness. While I have written extensively on Wahdatul Wajood, this piece serves as a condensed visual representation.

Amjad: What prompted your decision to connect the imagery of mountains and the sea with the concepts of oneness and wajood?

Mehran: I chose mountains and the sea because they represent two geographical extremes imaginable to us. One is a formidable landmass, the other a vast expanse of water. Furthermore, one of the most remarkable aspects of art is its capacity for varied interpretation; an individual's connection to a piece can often surpass the artist's own explanation, rendering the work even more profound.

Amjad: The intricacy and complexity of this work are striking. Could you elaborate on its detailed process of creation?

Mehran: The core meaning of the unity of existence suggests that the entire world functions as a singular entity. There is no fundamental distinction between individuals, beings, organisms, landscapes, spaces, and other entities; we are all interconnected. Ultimately, we will all unify with the Divine. Nothing truly separates us; even seemingly distinct entities like beaches and mountains share the same fundamental essence. Following this philosophical underpinning, I incorporated the text "Wahdatul Wajood" and blended all elements within the artwork to reflect this oneness.

Amjad: This appears to be a digital artwork, yet it is hard to distinguish whether it is a hybrid (mixed media) work or an organically produced piece. It possesses a remarkably organic quality, almost suggesting the presence of pastels or acrylic paste. It's fascinating how it evokes a sense of "snow" – reminiscent of the work of Zheng Chongbin, a prominent artist who blends traditional ink with acrylic in his Chinese calligraphic art. I admire your use of smudge as a tool; it lends a tactile quality. The work prompts reflection on the materiality of the medium, even when produced entirely in the digital medium.

Mehran: Indeed, I even crafted all the digital brushes utilized in this artwork personally as per my creative impulse and the demands of the work—perhaps that’s why it retains an organic quality, as you say.

Amjad: The texture is akin to chalk on a blackboard. It is truly fantastic work.

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Amjad: Which artwork shall we discuss next?

Mehran: I would be pleased to discuss "Kanger," as it is my most recent creation.

Amjad: Very well, the one on the first row. Please proceed.

Mehran: This piece, "Kanger," integrates elements of a human skeleton, while the central component is a human skull, depicted as cut open, juxtaposed with what appears to be a femur bone. The work carries a somewhat sombre tone. The underlying concept is that when one symbolically "cuts open" a human being, one discovers the fire within. I've deliberately used calligraphic forms within the skull that visually evoke flames. These forms represent words and ideas, which, I believe, are the fundamental source of warmth and passion within us. Language, in my view, is the bedrock of all phenomena. Without language, our current state of existence would be impossible. Language provided us with this "fire," a concept that resonates with the ancient human discovery of fire. This "fire" within us, composed of words, ideas, and stories, is the true wellspring of our internal warmth.

Amjad: You’ll have to pardon me, I am illiterate in Urdu, Arabic and Farsi (as in I cannot read in these languages). Are the specific words or phrases in the calligraphy decipherable to the viewer?

Mehran: No, they are not intended to be explicitly legible. My intention was for them to merely appear as words, thereby conveying the underlying idea without direct interpretation.

Amjad: That is fascinating. The artwork also presents itself almost as a map, aligning with the notion of the body as a geographical landscape. While conventional interpretations associate skulls and skeletons with mortality, death and decay, you appear to imbue this work with a remarkably positive and optimistic perspective.

Mehran: My aesthetic inclination led me to a gothic style for this piece. I tend to create instinctively, without excessive premeditation.

Amjad: Yet, for you, this work signifies the illumination of ideas as the wellspring of life. Is that correct?

Mehran: One could interpret it as the manifestation of my unconscious mind. Perhaps I don't consciously execute all my artworks. It may be my unconscious brain seeking expression. For me, the process is profoundly cathartic and arrives through a meditative and hypnotic manner of creation—and I absolutely love getting lost in that creative process, as do many of the artists I admire.

Amjad: It possesses a distinct visual language. Your approach to conceptualizing a work, whether figuratively or abstractly, is evident. There is significant merit in its composition, regardless of interpretation. This provides valuable insight into your artistic progression.

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Amjad: Could you tell me about the artwork currently visible in your background?

Mehran: This is a particularly intriguing piece. It features three seemingly insignificant letters—"Ayn," "Sheen," and "Qaf"—which are mirrored. At the center lies an eye. My interpretation during its creation was that these inconsequential letters coalesce to form something profoundly significant: an eye. The eye, in numerous philosophical and spiritual traditions, symbolizes consciousness and one's unique perception of the world. By placing the eye centrally, I aim to emphasize that our view of existence is often filtered through our individual experiences and challenges. If one transcends these filters, a truly beautiful world emerges. Thus, the work suggests the transformative power of deriving significance from the seemingly insignificant.

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Amjad: And what of this artwork? It appears exceptionally complex.

Mehran: This piece is indeed quite intricate, and I believe it possesses one of my most compelling explanations, though I would prefer to discuss it offline. I refer to it as the "Butterfly Effect." Within the composition, you will discern two distinct maps—one representing Kashmir and the other Palestine—both artfully arranged to resemble butterflies.

Amjad: Could you clarify the Farsi text present in this work?

Mehran: It is in Farsi, and I believe it translates to: "May your soul never leave your heart and soul." The "butterfly effect" refers to a concept in chaos theory, whose connection to this work I would be pleased to elaborate on privately.

Amjad: This implies an element of resistance within the work. Have you observed the "Día de los Muertos" (“The Day of the Dead”) in Mexican culture, where skulls and skeletons are prominently featured in honor of the departed?

Mehran: Yes, although you might notice that in my piece, hands are replaced by eyes. I will elucidate the reason for this later.

Amjad: The imagery is striking. The Mexican festival, as you know, involves a parade where death is confronted and acknowledged. Your work immediately brought this to mind. What I find particularly compelling about your digital art is its remarkably raw and organic tactility. It’s as if one could physically touch the textures. This evokes a sense of familiar memory, like the feel of a chalkboard. The floral designs, too, suggest a textile quality. Your creative process, which synthesizes elements from various cultures, such as the skull adorned with roses—a textbook motif—within a contemporary, indigenous Kashmiri context, is truly fascinating.

Mehran: The skull is centrally located within the map, and the lower anatomical structure transitions into the lower body of a butterfly, creating a hybrid human-butterfly form.

Amjad: Precisely. The butterfly frequently symbolizes the cycle of life and death, as well as freedom and metamorphosis. The "butterfly effect" also alludes to causality—the notion that a seemingly minor event, like a butterfly's flutter, can trigger a cascade of significant consequences. This concept resonates deeply within Chinese Daoist philosophy, notably in Zhuangzi's parable of him dreaming of being a butterfly and awakening from his dream to question whether he dreamt of being a butterfly or whether it was the butterfly who was dreaming of being Zhuangzi—a well-known parable in China that blurs the lines between reality and dream. This artwork's multi-layered nature, incorporating digital elements with a posterization effect, is compelling. Your lineage of calligraphic skill is evident, but uniquely channeled through digital means.

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Mehran: Yes, this one. This is essentially a photograph I took of my own shadow on a road. In Jung’s Analytical Psychology, the shadow is more than just our hidden emotions or impulses—it’s the part of us we rarely see, yet it shapes who we are. Every fear, forgotten wish, and unspoken thought rests quietly there.

When you look into your shadow and accept what you find, you begin to understand yourself more fully. This is what Jung called "individuation"—becoming whole by welcoming every part of yourself.

Through my art, I try to show this journey: the meeting of light and dark within, and the beauty that comes from embracing your entire self.

Mehran: The newspaper background was simply chosen for aesthetic effect.

Amjad: It's phenomenal how you infuse such detail into everything. Even the edges are not perfectly uniform. This digital image, despite its medium, conveys an organic tactility. I am quite taken with this work. Its richness and texture evoke a wealth of associations. The textures are not random; they resonate with forms we've encountered, such as the reliefs found on Mesoamerican pyramids. It appears as though you've imprinted something onto a surface and then meticulously traced it, creating a raw and organic essence that leaps from the images, emphasizing these reliefs. To me it is truly astonishing that these are in fact digital images.

Mehran: Precisely. It is a photograph of the road with my shadow cast upon it. One can discern the shadow clearly.

Amjad: The quality is exceptional, and the digital work is so masterfully elaborated. It's deeply interesting to witness the culmination of calligraphic learning and artistic exploration within these complex digital compositions. How can this be digital, I wonder? Forgive my lack of adequate vocabulary to fully articulate my impression. Something profoundly compelling is occurring here. I would certainly be interested in moderating your work, as I tend to write about art that deeply moves me, hoping to share that appreciation. However, we must consider your emerging status and present your work in a measured manner, to avoid overstating your impact too early.

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Mehran: This piece features a woman and her daughter on the right side. It is actually a drawing by my friend, Ayat. One day, I requested her sketch, intending to imbue it with my own interpretation. What I did was depict a person on the right being "served pain on a plate," with a lamp and a pack of cigarettes nearby. The woman holds a sword, symbolizing the person being metaphorically "cut" by it. This individual sits with serene composure despite being served this pain. This imagery emerged from my initial viewing of Ayat's sketch. My intention was to offer a distinct perspective, suggesting that even those appearing peaceful can be capable of terrible acts. We all possess both good and evil within us, with an equal capacity for each. And it is our choices that ultimately define us.

Amjad: And the calligraphy here, it appears to be an English inscription?

Mehran: Yes, below the main image, I've written something, It says “Under the sorrow of love, I must remain with your story.”

Amjad: I'm pleased that you did. How much of your friend's original sketch is incorporated into this final piece? It's difficult to discern.

Mehran: Only the silhouettes of the two figures: the mother and daughter.

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Amjad: The style seems similar, with Kashmiri architecture present. What would you like to share about this piece, "Ibadat"?

Mehran: This artwork depicts a person kneeling in supplication, praying to God. While working on it, I was in a state of mind where the depicted skeletal figure's devotion in the Kashmir that we know resonated deeply. It may not possess an overly elaborate narrative, but it portrays a person engaged in profound contemplation.

Amjad: Have you translated the text? Pardon my illiteracy, but is it in Urdu?

Mehran: Yes, it's in Urdu, and I have translated it into English. It says: "This world's condition was not known to me, nor did wisdom reveal anything to my heart. We thought we would know something through knowledge, but in knowing, we knew nothing at all."

Amjad: Could you describe the elaboration process for this work? You appear to be a master of layering.

Mehran: Essentially, I had a written text and was simultaneously creating a collage-like piece. I was particularly drawn to this building and wanted to incorporate it into the work. The idea that emerged was of a person in supplication, yet simultaneously being targeted by a sniper rifle, on the verge of death. It encapsulates the raw vulnerability of one begging to God in such a perilous moment.When one is deeply immersed in the creative zone, one simply executes what feels right. Sometimes, these intuitive creations defy easy explanation.

Amjad: When engaged in your digital art, particularly given your role as a digital artist, do you find yourself entering a meditative state?

Mehran: Absolutely. I enter a "zone" where I lose all sense of time. It’s fun.

Amjad: Do you ever feel the inclination, like a traditional painter, to pre-sketch or plan your works manually, perhaps in a notebook, before transitioning to the digital canvas? Even product developers create prototypes.

Mehran: No. I proceed directly to the digital canvas. I believe the last time I used a physical notebook for art was during my college days.

Amjad: Have you ever created works that you ultimately rejected or felt were incomplete?

Mehran: Yes, I have rejected numerous artworks.

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Mehran: This one is quite interesting to me. This artwork was a draft created during a collaborative effort with Ahmer to design prints for his EP, Alive in K II. It features the calligraphic script spelling out "Fun" (Art) and "Fanaa" (Annihilation). If you zoom in on "Fun," you'll see the Urdu letters "Fye" and "Noon." Adding a slight element transforms it into "Fanaa." So, it represents "Art and Annihilation." When writing "Fun," I've incorporated elements near the map...yes, there is a map of Kashmir and my logo present in the work. But beyond that, you can observe neurons, which are connected to "Fye" and "Noon." My intention here is that "Fun" (Art) is only truly realized when one has transcended the self and is fully experiencing the world. This experience is the essence of true "Fun," and the greatest artist, in my view, is God. God is the ultimate artist because He created the connection between "Fye" and "Noon," and He provided us with neurons. Recent research in artificial intelligence and consciousness suggests that something within these neurons is the basis of our consciousness. Therefore, I believe all consciousness and our experience of the world are, in essence, the art of God. When one experiences "Fanaa" (annihilation), we become one with that divine artistry.

Amjad: Engaging with the Creator through creativity and creation is a timeless endeavor, dating back to early civilizations who dialogued with the sky above and tried to make sense of their belonging in this world. The Greeks termed it "sublime." In Islamic culture, this connection is profound—consider the opening of a sacred scripture, i.e. the sacred text, from which emanates poetry, entire architectural traditions, and the art of calligraphy. Even scientific processes, such as distillation, arose from seeking the essence of things. In the Islamic empire, science and spirituality were not viewed as separate. On a metaphorical plane, one would flow into the other. A metaphor could inform an arithmetic formula, or a verse of poetry could directly connect to scientific and mathematical phenomena. They were not incorrect; one observes this in the Fibonacci sequence or in the golden ratio, which although mathematical manifest at multiple levels of abstraction within nature. There's an organic quality here too, resembling the wing of a butterfly.

Mehran: Yes, I used a similar map-like structure in the "Butterfly Effect" artwork to form a butterfly.

Amjad: And in this one, it also resembles DNA strands. Fascinating. It evokes organic life forms, like a mushroom, but without any menacing quality. This is truly phenomenal. I'm delighted we've had the opportunity to examine so many of your works. Perhaps we can discuss others at a later time.

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Amjad: Beyond your solo works, could you elaborate on your other artistic collaborations, particularly in album art for Ahmer?

Mehran: My collaborations extend beyond Ahmer's Alive in K Part II. I designed the EP cover for Faheem Abdullah's EP, Qaraar, and the artwork for Arsalan Nizami's song, “IK Raat.” I have also worked with Ravomie Music, and produced a short video for Arsalan Nizami's "IK Raat" on YouTube. In total, I have collaborated on album art with approximately seven to eight notable artists.  I have also worked with other artists, such as Raiez Khan, whose artwork, though beautiful, I haven't yet had the opportunity to upload.

Amjad: You mentioned earlier that your current focus is on music production. Could you provide details on your musical endeavors?

Mehran: I have not yet released any official musical works, but I possess a substantial collection of demos, numbering about twenty pieces (some more finalized, and others still quite a work in progress). My process involves both crafting original beats and undertaking the compositional aspect through sampling.

Amjad: Your process for layering and composition is notable. Could you briefly describe how you approach this?

Mehran: It often feels as though the artwork itself seeks to be created, utilizing me as a medium. When immersed in creation, I experience a profound sense that the piece was destined to manifest. I work directly on the digital canvas, a method I adopted in college. Unlike traditional sketching, I do not use notebooks; I proceed straight to the digital medium, leveraging the flexibility of digital layers to refine my work. While I have rejected numerous pieces that did not meet my expectations, the current works are those that resonated.

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Amjad: We have now traversed your artistic journey of the past two years.

Mehran: Indeed, not even a full two years yet; it will be precisely two years on January 23rd.

Amjad: Excellent. I would now like to discuss the significant culmination of your work: your collaboration on Ahmer's EPs. Did you contribute to both EP One and EP Two?

Mehran: No, I solely worked on the second part. Prior to this, I collaborated with Faheem Abdullah for his EP, Qaraar and Arsalan Nizami's song, “Ik Raat”, which I mentioned earlier. As for Ahmer’s Alive in K Part II EP, there is a great story behind it. Ahmer, recognizing my previous work, expressed a desire for me to design his new EP. His first EP featured a mountain in the background, conveying a distinct essence of Kashmir. For Alive in K. II he wanted a different visual, specifically incorporating a picture of downtown Srinagar. He requested me to integrate this image and the recurring bird motif from Part 1. This bird symbolizes continuity. I then proposed an idea: to artistically frame the entire EP around the concept of constant struggle and conflict, mirrored by the bird's persistent flapping. This action signifies that to be alive is to be in perpetual motion, with the heart constantly beating. In the background, I deliberately placed a sequence of letters, starting with "Ain" (ع), followed by "Lam," "Waw," "Ye," etc designed to create the word "Alive" but never fully concluding it. This intentional incompleteness forms an infinite loop, symbolizing that while the word "Alive" is never fully written, it also never ceases to be written. This underscores the idea of constant struggle and the continuous flapping of our wings that sustains life, ideas, or even a sentence.

Amjad: Similar to the perpetual flow of water beneath a bridge.

Mehran: Yes, it is flowing. The background image is a photograph Ahmer sent me, which I then completely redesigned. The banner featured in the artwork, which reads "Alive in K," I physically purchased and inscribed by hand.

Amjad: And subsequently photographed?

Mehran: Yes, I photographed the banner. This banner will also be utilized in the music video, and I have gifted it to Ahmer. That is the core concept. The reddish-hued artwork within this project holds particular significance for me, as it also depicts a mountain. The words used within it create this mountain, symbolizing an obstruction to one's vision, hindering the perception of beauty within the Valley. The bird's flight within this context also reflects the continuous struggle. Alternatively, viewed from a different angle, this constant struggle has cumulatively formed a colossal mountain. The message is to persist, never to underestimate one's capacity. As long as you continue to flap your wings and push forward, you can aspire to and then—even with a great amount of struggle—arrive at monumental achievements.

Amjad: Alive in K, indeed. In my view, this piece is distinct in its integration of a photographic element as its core. I can see how your initial works have led to a widespread recognition in the musicmaking community, and have culminated in this work you did for Ahmer, which is yet another addition to your craft. In the works we have gone over together in this session, I perceive a consistent history of elaboration, a skillful application of your early learnings from your first works, leading to images of this caliber. The finesse and sheer volume of effort are evident. What I find truly impressive about your work is that, regardless of the technique, it appears to be executed on an actual canvas. Even when digital collage is employed, the organic quality is so profound, so raw and palpable. One can almost feel the texture. This evokes memories of artists who create physical cutouts from magazines. I recall a fellow student in an IB art class who specialized in collage, meticulously cutting out images that, despite their digital origin, achieved an incredibly intricate quality. This is not to diminish other forms of art-making, which possess their own rich histories.

Mehran: That's perfectly fine.

Amjad: That's a traditional approach.

Mehran: Yes, the way it has been created undeniably gives it a completely different essence, making one believe it was designed by entirely different means.

Amjad: It appears entirely handmade, as if you physically created it and then photographed it. The sheer audacity of integrating a physical CD as a layer within the digital composition to achieve greater relief is truly out of this world. The illusion of a glass filter, the level of detail upon closer inspection, it's dreamlike, due to its glossy appearance. It further evokes the sense of memory, a return. Similar to Hangul the Band’s song "Back in Time," which reflects on the idea of returning, this album seems to convey a full-circle journey, a return to one's origins. The artistic elaboration is simply phenomenal. Forgive my enthusiasm. Is there anything else you would like to discuss? I believe I have gathered precisely what I sought.

Mehran: Yes, the artworks I haven't sent you. I can show them to you on the spot.

Amjad: I would appreciate having those actual works, even if not in high-resolution, just standard files. If possible, a chronological list would be ideal, allowing me to trace your artistic history. I wish to present this in a significant manner. Artists, in my view, are often not adequately appreciated and much less asked proper questions that inspire conversations about their profound engagement with their own work. This is why I initially founded this journal’s platform. I have gathered much material here and you have invested so much time and put in such a great effort. To see a young individual like yourself, with myriad commitments, dedicating such meticulous effort to this level of elaborate work—it warrants acknowledgement, so I thank you for taking the time and being patient with this entire process. I believe it is appropriate to conclude the recording now.

Mehran:

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