Kārkhānā depicts an artisanal workshop, or karkhana, where fabrics are embellished and treated. The setting is far from glamorous—walls are cracked, bricks peek through where the plaster has worn away, and mold creeps along the floor. The chuna (lime plaster) is chipping, even on the window frame moulding, through which we glimpse a setting sun. As night’s grip slowly consumes the day, it evokes the long hours that are the reality for artisans, while also hinting at the twilight of the Suryavansh Sikh empire. Oil lamps flicker to life as the workers continue through the night. Surma (galena) is used to replicate the texture of the lamps, water cup, bead bowl, and pair of scissors, lending a wootz-like effect to these objects. The space, gritty and worn, reflects the truth of work environments.

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This painting depicts various dualites—miri/piri, deg/teg, the balance of opposing forces. On the left, a battle standard is being gilded, while on the right, a rumal sahib is being embroidered. There is a deeper, personal connection here too, as the gilding workspace of the female figure mirrors my own as I adorned this very piece with 24K gold. This balance between the masculine and the feminine is key: the woman works toward teg, traditionally seen as a masculine domain, while the man tends to deg, often regarded as softer and feminine. Together, they embody roles that challenge conventional expectations. The spiritual and the martial—all aspects of life and art interweave here.

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The borders of the painting are layered with meaning. In the corners, marbled textures—an aesthetic I’ve always been drawn to—playfully swirl, though the marbling is fabricated, a nod to the techniques artisans used to decorate manuscripts.

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The indigo-rendered symbols reflect the complexities of ‘sovereignty governance:’ highlighting what it takes to sustain an empire. The connection between heart and mind speaks to the interplay of emotional depth and strategic thought, while the Saraswati angel on the right signifies a commitment to craftsmanship and artistic patronage.

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A crocodile carries its own sun, guarding the empire, while bhujangis roam below. Meanwhile, the cow offers sustenance, alluding to the earth’s fertility and the vital role of farming. Birds and clouds fill the skies, while lotus flowers emerge from the earth below.

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The workshop is a microcosm of a greater narrative—one where art, labour, and history intertwine. While the sun sets on empires and traditions, it rises again each day, just as the artisans continue their work into the night, undeterred by the challenges around them. This painting serves as both a tribute to the resilience of makers and a meditation on the cyclical nature of time, reminding us that within every ending, there is also the promise of renewal.