In the series “In dreams, in memories” the horse as an international symbol, is taken from the Islamic month of Moharam. The story of how the
Prophet Mohammedʼs descendants were defeated and massacred in the Battleof Karbala (61 A.H: A.D. 680) is retold during the rites of Ashura. The
thoroughness of the massacre knew no bounds; even the horses of the defeatedarmy were decapitated and paraded on spikes – a symbolic gesture to further
consolidate victory.

This is an emotive history and culture, which at its peak abandons its identity and ascends into a state whereby the story of the Prophets descendants is
harmonised and integrated within the individual experience. A focus on the negative and deeply harrowing experience of the massacre of the Prophets
family (a family to which all Shiaʼs in sentiment belong to) is, through ritual, sublimated: From death comes hope, and the martyred horse is immortalised as
a symbol of resilience and wisdom.

Art is, perhaps, the secular equivalent of such an experience, achieved through a moulding of material forms into a concretised abstract alternative form; the
working of raw and negative existence and base material into a positive interpretation of individual and shared human experience.