Farrukh Adnan

Farrukh Adnan lives and works in Lahore, Pakistan




Born in 1984, Adnan is based in Lahore. He completed his undergraduate in Visual Communication Design from National College of Arts, Lahore in 2009 and graduate program in MA in Art and Design Studies from Mariam Dawood School of Visual Arts and design, Beaconhouse National University, Lahore in 2014 with the prestigious scholarship of South Asia Foundation (SAF) Madanjeet’s Singh Institute for South Asian Studies (2014).

He started teaching Photography as a visiting lecturer at National College of Arts, Lahore (2015) also teaches Drawing and History of Art at National College of Business Administration and Economics, Lahore (2016-2017). Currently, teaching drawing at National College of Arts, Lahore.



Solo exhibitions include: Earth Cover at Koel Gallery, Karachi (2019), Excavations at Rohtas 2 Gallery, Lahore (2018), Enigmatic Spaces at Koel Gallery, Karachi (2017), Unfolding Matters at Sanat Initiative Gallery, Karachi (2015).

Selected two person shows include: Distorted Paradigms at Satrang Art Gallery, Islamabad (2017), Museum of Wasted Love at Full Circle Gallery, Karachi (2016).

Selected group shows include: Tapestry of Fading Gardens at 1×1 Art Gallery, Dubai; Of the Moments at 12.0 Contemporary, Islamabad (2020); Traces of Memory at 12.0 Contemporary, Islamabad (2019); Dialogue between Traditions and Modernity IAF19 Sir Syed Memorial, Islamabad (2019); Beyond the Waters Curated by Amra Ali at Koel Gallery, Karachi (2019); The Autonomous Draughtsman at Tanzara Gallery, Islamabad (2019); Art for Education: Contemporary artist from Pakistan (Charity Auction) curated by Salima Hashmi & Rosa Maria Falvo at Carlo Maria Martini Diocesan Museum Milan (2018); Boiling Springs Art Exhibition of Pakistan Belt and Road Suzhou University Museum Beijing China (2018); Between the Dots at O Art Space, Lahore (2018); Who is Afraid of Art? curated by Asad Hayee at Alhamrah Arts Council, Lahore (2018); Imago Mundi: Luciano Benetton Collection Lines in the Sand: Contemporary Art from Pakistan curated by Amanullah Mojadidi Venice Biennale, Italy (2018); Open Fields curated by Aasim Akhtar at Pakistan National Council of Arts with the collaboration of American Embassy, Islamabad (2016); Migration and Movement, Close Together project by Voice Breaking Boundaries, Houston (2014-2015).

Adnan had done an artist residency “Project 12” at 12.0 Contemporary, Islamabad in 2019.



My studio practice is centered around an ancestral connection with history and archaeology. This archival research has been undertaken in ancient Tulamba which is located in southern Punjab in Pakistan. I am interested in the archaeology of works that explore personal memory of space/place, collective historical events, and cultural depictions of nature in the context of present times. Revealing aspects of history have a profound impact on our contemporary culture today. This leads us to discussions relating to how we interpret a space within its context and how context itself builds sometimes out of the “syntax”.

I am interested in these aspects and research/archiving Tulamba is important for me because archaeology allows a connection with the current situation in most of today’s world.

See more works of Farrukh on his Instagram !

Relic – XIII: (Pen and Ink on Wasli 6×8 inches / 15.24X20.32 cm 2020) My inspiration also hometown; Tulamba, an ancient historic ruined site located in southern Punjab, Pakistan. It leads me to look back at historic events which took place and are now embedded underground layer by layer. Having played on these ruins in my childhood, it was the place that fascinated and evoked curiosity in me. What was its original form and how did it turn into ruins? My work intends to invite viewers on a journey of grounded realities where they are expected to read between the lines with me. And be able to encircle the present with past. Medium pen and ink on wasli, I think is relevant to express the subject of archaeology. To find my subject, I looked back at my childhood to draw my connection with hometown. Style involves also evolves with my finding of signs, symbols, plans and historic events of Tulamba.
Gust – I: (Pen & Ink Wash on Canvas 20×20 inches / 50.8×50.8 cm 2019) This work is inspired by extreme and unpredictable weather conditions, regular floods and lower agricultural positions in Pakistan. This subject is significant to me because I think it is close to my investigation about Tulamba and what would had happened with it in past? Through this work, I am trying to show my subject matter in an abstract language from an aerial view which is infinite its own, repeating in an organic ways and is limitless. This work is trying to engage viewer to look and find out possibilities that led to the current state. Medium of this work is pen and ink washes on primed canvas and I think it is better medium to define the routes of the subject. Style of this work is abstract giving visual representation to my thoughts. Mark making disoriented by gust of ink washes achieved through my finger tips on a smooth surface.
Land and Universe: (Pen & Ink on Paper 30×23.6 inches / 76×60 cm 2017) Work inspired me to study space junk in the context of ancient cultures including astronomic practices, celestial lore, religious beliefs, myths, legends and folk tales. My expectations is to take viewer on a journey with me and look how things open, build narratives and connection between land and universe while I investigate about Tulamba and looking back into our historic background. How we connect our present to the past through finding similarities between archaeology land and space. Medium chosen for this work is pen and ink on paper to show both simplicity and complexity. Delicate Mark making of ancient signs and symbols, incomplete forms represent space junk whereas, dots represent small space particles in it. Repetitive vertical marks construct horizontal lines leading towards formation of earth.