In this series, the homeland is not a location, it is a wound. These paintings are testimonies of exile, of lives uprooted and dispersed like seeds carried by wind. The figures drift across abstracted landscapes, fractured yet tethered to a memory that refuses to fade.

The paintings evokes the silent ache of those torn from their soil, carrying with them not only the dust of their land but the weight of displacement.

Then comes “Pacha – Fading Avarice”, a brutal metaphor veiled in tradition. The national dish becomes a stage for critique: steaming bowls of meat and skulls, served with the stench of moral decay. Here, you confront the cannibalism of corruption, how it devours the very body of the nation, how it gorges on what remains. The two skulls are not just remnants of the meal, but symbols of the binary that plagues the homeland: East and West, sect and sect, past and present, loyalty and betrayal.

Together, these works do not illustrate nostalgia, they deconstruct it. They question the idea of belonging in a place where home itself has been exiled. They are not just paintings; they are elegies painted with color, criticism, and conscience.