Untitled (Bishapur) and Untitled (Ghalat) (both 2025) are embroidered drawings that have been executed on cotton drop-cloths found in the artist’s family home in Tardeo, Mumbai—originally used by their grandparents to cover valuable furnishings and domestic ephemera.

Both drawings are based on studies that were made in 2018 during site visits in Iran, where significant archeological extractions were conducted over the 18rth, 19th and early-20th Centuries by British and French excavation teams. What remains at these sites in Pars (present day Fars region in Iran) are the remnants of Sassanid and Achaemenid life that belie the notions of empire that institutional collections today present: some quotidian fragments of ancient domestic life still remain in local museums, such as the one in Bishapur’s palace complex.

Through these drawings by Katki, we get a glimpse into the artist’s use of mnemonic devices; how ancient scars, shards and traceable fragments are useful tools for communities of displaced individuals— becoming a pictorial shorthand that suggests queer pathways into understanding the past through modes of fabulation and worldmaking.