Whilst portraiture has historically been a genre that tells the story of the great and the good, the Mughal miniature style, of which Qureshi is a leading exponent, is no exception. However, Qureshi applies it to photographs taken of his contemporaries holding traditional poses where bodies are positioned front on to the viewer but the face is turned to the side and painted in silhouette. This open-ended approach unearths a new view of cross-culturalism in a contemporary society and it lifts the work off the page.
The space surrounding the four miniature portraits of ‘Moderate Enlightenment’ also holds the installation ‘Dismantled’. Qureshi’s fine details of blue traditional florescence motifs are painted onto white walls in two strips, as perfect as wallpaper. However, in places the pattern is splashed, like liquid dripping as paint. This installation, like cross-culturalism, exists beyond the gallery walls. Whilst this is the use of traditional art to portray modern observations of Pakistan, Qureshi has employed a slightly surreal twist and placed it on walls around the globe.