Reya Ahmed’s rich and autobiographical Risograph work evokes feelings of nostalgia

Nestled at the core of Reya Ahmed’s rich portfolio is the feeling of nostalgia. “I come from a Bengali family and I think nostalgia is so culturally omnipresent and potent for anyone that speaks the language,” says Reya. “I always think about present rituals or circumstances in relation to what they once were.” In their work, this can sometimes lead to exploring the “mundane (but political)” navigation of Spareroom ads as an immigrant, or the intersection of queer feminism and their Muslim heritage.

All of these avenues and influences culminate beautifully in Reya’s project The Margins of Memory. Using the visual structures found in South Asian and Muslim miniature paintings – “elaborate and ornamental ‘margins’ with text and motifs” – the project explores the passage of time. It features a pleasing pairing of colours, entertaining compositions and evocative visual imagery, created with found receipts and the photos of Reya’s plants. The project follows Reya’s year-long experimentation with Risograph, a medium she loves for the lengthy time it requires: “the more time I spend with a project, the more I am happy with it and within it,” they end.