Shezad Dawood’s Until the End of the World, engages the viewer in a complex revisiting of historically documented artistic practices, and with a simple tweak in perspective, opens a vast area of convergence, interweaving and overlapping between two monolithic belief systems.

As an exploration of the beginnings and endings of cosmological truths and universal systems, Dawood works from the final sections of the Qu’ran presenting an interdisciplinary installation comprised ofpaintings, neon lights and tumble weeds, which call into question the convergence of design, formalism and mysticism.