King’s Court, 2025

This hand-painted piece features paisleys inspired by the Charbagh Mughal gardens, exploring how architectural and design motifs transcend borders, making their origins indeterminate. While archaeologists speculate that the paisley originated in Central or South Asia, it has become a global symbol, detached from any singular source. Similarly, the Charbagh, a widely embraced landscaping element, appears in French, English, and American gardens. Engaging with Foucault’s critique of pure origins, this painting resists ancestral attribution, instead emphasizing the fluidity of meaning. A Texas farmer may see the paisley as the red bandana of a rancher, while a South Asian might connect it to henna designs. To a 1960s European traveler, it evokes the psychedelic movement. Through this shifting lens, the work highlights how cultural and racial backgrounds shape perception, reinforcing that certain designs do not belong to a single heritage.