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After witnessing a sixteenth-century paper-making process in Rajasthan, where the liquid pulp was mixed in large vats, Hashmi realised its potential as a casting medium. She began to produce deep relief moulds of her own, into which pulped paper was poured, pressed by hand and left to dry. Hashmi has compared paper to skin, stating that ‘it can be stained, pierced and moulded and it still has the capability of breathing and ageing. It has a fragility and resilience that lasts through time.’ Despite their apparent abstraction, the geometrical shapes imprinted onto and indented into Wall II, Fence and Pool 1 (Terracotta) refer to the structural elements of a house and its surroundings, relating to Hashmi’s memories of homes past and present.