Waqas Khan’s obsessively detailed drawings are made on thick wasli paper, repeating cellular patterns and motifs that lock together to form a shimmering geometric whole, such as an incomplete circle or strata-like rippling waves.
Khan’s minute dots and dashes are rendered with a Rotring rapidograph, a drafting pen with an ink cartridge and fine tubular nib that enables greater density and complexity when used by artists, architects, and engineers. He has also constructed a special table for making these religious works that are motivated by love. The inks tend to be pink, black, white, or turquoise, and sometimes magnifying glasses are supplied in exhibitions so viewers can closely examine the marks.
Waqas Khan’s artworks include The breath of the compassionate (2012), Around the edges, as i see it (2015), The text in continuum (2015), My Small Dancing Particles (2017), Name Me White (2017), In the Name of God II (2017), You, Me, Everyone (2019), The Gibbous Moon (2019), Memory (2019), and Transpired (2021).
Occasionally Khan works on canvas and combines his use of ink with acrylic paint.
