*Text taken from a review by London-based critic and curator Hammad Nasar in a pamphlet from 2006, “he follows on with a step miniaturists refer to as siyah qalam (or literally black pen); going over the pencil marks with a fine brush dipped in black ink. Then he applies multiple layers of watercolor in gum arabic. After each layer, Kazim washes the painting to fix the pigments while pulling away larger granules, giving the image a gauzy quality. Following these serial bathings, “he picks up the qalam again for a final rendering of his figures”—typically lone males—in pardakht (the application of paint in small dots).”