This exhibition foregrounds the handmade within Umber Majeed’s digitally forward practice by highlighting her drawings, paintings, mixed-media works on paper, prints, and ceramic sculptures.

Majeed’s drawings have unexpected muses: the checkerboard pattern of Photoshop, stock imagery about copyright ironically pirated from the internet, incomplete digital renderings of vortexes and spheres, drop-down menus, fisheye filters, pop-up messages, and icons multiplying as they are dragged across a screen. These are decidedly unglamorous, work-in-progress fragments of digital image-making. Majeed further complicates our viewing experience by bending time and merging her screen-based imagery with the archival: picturesque mountains and catchy slogans drawn from ephemera from her uncle’s defunct tourism company; continents and diagrams of global wind patterns from an out-of-print Urdu atlas; logos and advertisements from a Pakistani newspaper; signage from a glossy new private real estate development franchise; and instructional manuals for cellphone use and maintenance.

Majeed’s choice of materials is similarly subversive. She has created paintings on canvas and ceramic sculptures but shows a clear preference for more modest materials like graph paper, colored pencils, and markers—producing artworks that are playful, beguiling and technically meticulous. Her fusion of digital and archival imagery extends into the augmented reality works for which Majeed is widely known. The exhibition includes one such work, Zoom in, in which a framed work on paper activates an augmented reality experience, allowing Majeed’s analog, archival, and digital vocabularies to unfold together in augmented space.