Born in Karachi, Pakistan. Abdullah seek to establish a meaningful conversation between traditional Islamic art forms, contemporary artistic practices and global politics. Which serves to underline the significance and beauty of Islamic geometric patterns within a global context. His creative process is personal, helping him to visualise his own experiences and emotions.
Abdullah’s art practice involves “Veil language”. It conveys a particular set of idea or stories implicitly. With increasing censorship and suppression of ideas, sometimes creatives find it difficult to express themselves. He focuses on abstraction of patterns, allowing him to delve into themes of spirituality, cultural identity, and impact of trauma. Being a part of Ahmadiyya Muslim community by birth. He is influenced by the history of persecution and the events that have collectively shaped their identity.
Justifying the act of declaring Ahmadis Not-Muslim, Government of Pakistan issued a “White paper” under the title “Qadiyaniyyat- Islam Kay Liya Sangin Khatrah” (Qadiyaniyyat- A grave threat to Islam (1984). Which helps him to confront the authority of paper. Showing its dichotomy of both conflict and resolution.
In the midst of escalating conflicts surrounding Islamic ideologies across Europe and the ever-evolving geopolitical landscape of Islam and Pakistan, he finds himself in an era of influence and historical significance.
“It is crucial to bring to light and confront the pressing issues that have emerged during these transformative times.” (Abdullah)