The title refers to Karachi summers, where the electricity often goes and the generator sometimes fails and it gets very hot. The fan on the top of the first panel is a reference to such evenings and nights, as well as being a common ceiling appliance in many homes. The watercolor-like oil painted panels in Hava Nai Aarahihai depict interior and exterior spaces in a random way. The objects in these ‘dreamscapes’ are connected only through nostalgia, memory, and imagination. In addition to household objects; like fans and air conditioners, exterior objects; buildings from different cities and roadblocks, the artist’s self portrait is inserted into the dreamscapes three times. A reminder that this is a connection to her psyche, the spaces and by extension the people that are important to her. By rearranging the presentation of the panels to create sections of a room, it is intended that audiences can insert themselves into the dreamscapes in a new way. The panels are solid enough to be used as temporary walls or dividers. The use of props such as a mirror, and a footstool will help them do this. The arrangement is also intended to allow audiences to have a little travel around the panels, as well as navigate them as if they were hallways of a little house. It might not be your home, but one hopes that it can remind me of your preferred home (wherever and with whomever that may be).

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