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P04 ‘GHOSTS OF THE PAST, PRESENT & FUTURE’ PIVOTAL : DIGITALISM // SAATCHI  GALLERY


British Art Fair, Saatchi Gallery, 2024

Presented as part of Pivotal : Digitalism, an exhibition curated by Rebekah Tolley-Georgiou at the British Art Fair spotlighting cutting-edge digital practices, ‘Ghosts of the Past, Present, and Future’ formed a triptych of experimental self-portraits exploring identity, migration, and digital embodiment through augmented reality and audiovisual media. The exhibition sought to demonstrate that digital art in Britain is no longer peripheral but central — serious, conceptually rigorous, and politically urgent.

‘Ghosts of the Past, Present, and Future‘ is a conceptual series of digital self-portraits investigating the tension between visibility and erasure—particularly for queer, diasporic subjects navigating inherited memory and imagined futures. Using 3D scanning, point cloud data, and AR placement, the works create new forms of spatial storytelling that exist between the private and the public, the intimate and the institutional. Each work stages a different engagement with presence: institutional critique, meditative abstraction, and speculative futurism. Together, they form a non-linear narrative of becoming - a reflection on what it means to occupy space as a queer, diasporic subject in the digital age and how marginalised identities can be seen, remembered, and imagined.


// Ghosts of the Past
A Dadaist interpretation of self-portraiture in augmented reality, Ghosts of the Past interrogates identity, resilience, and the contested nature of public space. Originally installed via geolocation on the bridge inside Tate Modern’s Turbine Hall, a site chosen in response to a racially motivated incident experienced by Shahwali Shayan, the work has also been shown in Paris and Berlin. For Pivotal Digitalism, a version of the piece was adapted and installed outside the Saatchi Gallery.

The AR installation features a 3D digital collage composed of personal and cultural objects: handmade moss-shaped embroidery, paper jasmine flowers, and heirlooms such as the artist’s mother’s earrings, his father’s wedding slippers, and his grandmother’s kohl bottle. These fragments are suspended in space, forming a symbolic visual language that articulates the complexity of hybrid identity. The use of AR underscores the duality of being present yet invisible — echoing the experience of many immigrants navigating institutional spaces.

A line of Urdu poetry embedded within the work translates to: “When there was no space for greenery on earth, it became moss on the surface of water,” encapsulating the work’s meditation on survival, adaptation, and poetic resistance.








//Ghosts of the Present
Ghosts of the Present is a hypnotic, immersive self-portrait rendered through a rotating point cloud system. The work engages light and sound to produce a shifting constellation of points, evoking a body that is in constant transformation. It reflects on the fluidity of identity in a digitally saturated world ; where the self is continuously scanned, abstracted, and reconstituted.

The viewer is drawn into a non-linear meditation on presence, perception, and impermanence. The cyclical motion of the point cloud resists narrative closure and stable form, reflecting the uncertainties of navigating personal and cultural identity in a context of fragmentation and surveillance. It reflects the fragmentation of identity in the contemporary moment - where selfhood is constantly scanned, surveilled, performed, and reconstituted through digital systems. It is both ghost and data; presence and absence.

The accompanying audio piece is made by Shahwali using a recording of his heart beat and audio synthesisers. 

The result is an experiential, contemplative portrait in which the boundaries between self and system, digital and physical, are intentionally dissolved.






//Ghosts of the Future
Ghosts of the Future is an augmented reality self-portrait placed on a virtual plinth ‘The Fifth Plinth’— a digital sculpture in slow rotation, visible only through a device. Unlike historical monuments built in stone, this figure is suspended in transience, ungrounded and ethereal. It reimagines the future not as fixed, but as something in motion.

The piece was virtually installed on what the curators termed as the “Fifth Plinth” — a conceptual continuation of the Fourth Plinth in Trafalgar Square, London : reclaiming public space through digital means.

The work challenges how we monumentalise identity — especially for queer, migrant bodies that are often written out of history and denied a place in the future. It reflects the experience of being both seen and unseen, present yet peripheral. Like the immigrant condition, it is everywhere and nowhere, hyper-visible yet intangible.

AR becomes a metaphor for this paradox: a medium that can show everything but touch nothing. In this way, Ghosts of the Future is not just a speculative portrait — it is a rejection of permanence and an embrace of multiplicity. Identity here is not static but shifting, shaped by memory, technology, and imagined possibility.














  •            “Together, the three works form a narrative arc through time and selfhood. Ghosts of the Past reflects on origin, resilience, and the journey behind; Ghosts of the Present captures the complex emotional terrain of contemporary existence; Ghosts of the Future points towards a horizon of hope — a pursuit of elation through becoming. The series is both personal and political, proposing that identity is not a fixed entity, but a process continually shaped by history, displacement, and imagination.”
P03 ‘SAMSARA’

‘The only constant is change’ is a manifest that portrays how life and everything in it is subject to transformation.’



Samsara is a new residency at London’s biggest immersive venue - Frameless. The show is a three-part audio-visual experience by Shahwali Shayan, Olesea Bortniac and Tao Xie as they explore the concept of continuous transformation, the ongoing process of change and evolution in our fragile and beautiful world. Supported by the Royal College of Art, the show will run from 2nd March to September, 2024.


  •           ‘Samsara’ is an immersive multisensory visual art exhibition, accompanied by spatial soundscapes that celebrates the perpetual flow of change - birth, life, death and rebirth. Change is all around us. Some change is fixed, like the shift of one season to another, while other change is evolutionary and progressive, tossing new circumstances our way as time goes on.

    The project seamlessly melds 3D scenography, imaginative microscopy, sonic experimentation, and tangible real-world objects to illuminate the multifaceted facets of continuous transformation.  

    This visionary endeavour delves into the very essence of transformation, meticulously examining these processes embedded in the tapestry of natural phenomena, culture, society, and the human experience. It invites contemplation on the philosophical musings of existence and metamorphosis through the synthesis of arresting visuals and harmonious soundscapes.

    Through a symphony of diverse settings, an enchanting palette of hues, a meticulously curated musical accompaniment, and the deft application of post-production artistry, ‘Samsara’ aspires to craft an immersive visual odyssey that resonates deeply with its audience, eliciting profound emotional responses. The exhibition promises to be a profound exploration of the aesthetic and conceptual interplay that underscores the ceaseless cycle of life.


Drawing from autoethnographic research, this exhibition delves into the metaphorical significance of moss, weaving personal reflections with broader cultural narratives. Integrating my South Asian identity, themes of longing, nostalgia, childhood, and migration are explored, offering insights into the cultural and personal experiences that have deeply influenced my artistic expression. 

Moss emerges as a potent symbol of resistance, its resilience in adverse conditions reflecting themes of endurance and defiance. Through an exploration of decay, the exhibition illuminates the positive aspects often overlooked, presenting moss as a metaphor for life's cyclical nature—a metaphorical rebirth or resurrection akin to Samsara. Philosophical inquiries into moss extend to its representation of nature's reclamation and resilience, offering parallels to marginalized identities. 

Emphasising the constructive facets of decay, the exhibition shifts focus from mere decomposition to the potential for growth and renewal. Acknowledging moss's historical significance, particularly its role in healing wounds during Wars, adds layers to the narrative, intertwining nature's therapeutic qualities with the scars of human conflict. Utilising moss as a visual language, the exhibition fosters a dialogue between personal experiences and broader cultural contexts, transcending physicality to become a metaphorical bridge connecting individual narratives with universal truths.

In many respects, this piece embodies a self-portrait in motion, serving as a homage to my life, identity, and personal journey. Through the intricate interplay of visuals and themes, it encapsulates the essence of who I am, intricately weaving together elements of my existence, cultural heritage, and evolution.

The music for this piece ‘White Flower’ composed by Klangphonics - Maxl Walmsley-Pledl , Ben Kopfnagel & Markus Zunic.













P02 GHOSTS OF THE PAST




‘GhostsOfThePast' is a location-specific ghost art installation that uses augmented reality technology to anchor a digital collage made up of 3D scans of handmade embroidery, paper sculptures, ready-made objects of affection and digital design elements inside the Tate Modern. Visitors can use their smartphones or tablets to access the augmented reality installation and explore the work as they walk around in the building.

The installation centres on Shahwali's own identity and self-exploration based on his autoethnographic research - drawing on themes of Dada, memory vs. counter-memory, fragmentation, ready-made art, and subversion. He wanted to challenge and question traditional notions of art and identity as well as structures that exist in our society. Through his use of augmented reality, Shahwali invites visitors to engage with his work innovatively, encouraging them to consider their own relationship to the art world and their place within it.

At the same time, the installation is deeply rooted in Shahwali's own personal experiences and heritage as a Pakistani artist. It takes into account his South Asian identity, longing, nostalgia, childhood and migration to explore the cultural and personal experiences that shape his work. His installation visually explores the idea of fragmentation of one’s identity through his use of digital media and autoethnographic research. Shahwali encourages viewers to think about the ways in which the decolonisation of art can open up new possibilities for self-expression and representation.

'GhostsOfThePast' further invites viewers to question how art and identity intersect in the digital age.





What is a Ghost Exhibition?


A ghost exhibition is an art exhibition that is created using augmented reality (AR) technology. In a ghost exhibition, the artwork is not physically present in the exhibition space, but rather is created and displayed using AR technology. This allows viewers to experience the art in a virtual space, and to interact with it in a more immersive and dynamic way.




P02/CH01 → TATE MODERN, LONDON

CH001 →  TATE MODERN LONDO



‘Ghosts of the Past’ showreel and process film





Ghosts of the Past 3D Renders from Lens Studio (AR Software powered by Snapchat)





On site video recordings inside the Turbine Hall in Tate Modern (London). 





Snapchat view of the AR installation





Making the moss embroidery that was the 3D scanned and added to the AR installation. The moss represented a visual dialogue between society and myself and pays homage to the Urdu saying above. Moss grows out of darkness and in cold and wet places - it represents resistance. It can represent decay or it can represent life, where nature reoccupies and nature inherently reclaims constructs built by humans.




Pakistan's national flower is ‘Jasmine’ or Champa and a flower that reminds me of childhood. I 3D-scanned these flowers and included them in the AR installation.






3D scanning hand-made moss embroidery using a smartphone





Using VR to 3D model and to translate choregraphy into visual digital assets that were then later used in the AR installation




P02/CH02 → EIFFEL TOWER ,
PARIS  // MINAR-E-PARIS

In my exploration of the democratisation of space, I extended my ghost exhibition, "GhostsOfThePast," to iconic locations in Paris, the Eiffel Tower, and Berlin, the Brandenburg Gate. Augmented reality (AR) emerged as the ideal medium, enabling a unique touring exhibition that defies conventional spatial constraints. What truly distinguishes this artistic endeavor is its ability to vertically layer multiple immersive experiences within a single physical locale, an innovation exclusive to AR. Moreover, it empowers not just me but also others to harness the potential of this medium, fostering an open-ended dialogue between art, space, and a global audience. This expansion pushes the boundaries of art and invites critical engagement with the fluidity of spatial and artistic expression in our digital age.



Video recordings of the AR installation at Eiffel Tower recording through Snapchat. This version of Ghosts of The Past had an integrated audio experience i



P02/CH03 → BRANDENBURG GATE , BERLIN  //  TAXALI  GATE


In my exploration of the democratisation of space, I extended my ghost exhibition, "GhostsOfThePast," to iconic locations in Paris, the Eiffel Tower, and Berlin, the Brandenburg Gate. Augmented reality (AR) emerged as the ideal medium, enabling a unique touring exhibition that defies conventional spatial constraints. What truly distinguishes this artistic endeavor is its ability to vertically layer multiple immersive experiences within a single physical locale, an innovation exclusive to AR. Moreover, it empowers not just me but also others to harness the potential of this medium, fostering an open-ended dialogue between art, space, and a global audience. This expansion pushes the boundaries of art and invites critical engagement with the fluidity of spatial and artistic expression in our digital age.




On-site screen recordings of Ghosts of the Past Ch:3 at Brandenburg Gate in Berlin Germany.



P01 → “ERASR” - AUGMENTED REALITY ART INSTALLATION
 



ERASR is an augmented reality art piece that immerses participants in a fictional narrative set in the year 2062. Within this speculative world, a tech startup named ERASR offers a unique solution to human suffering by erasing trauma. As individuals embark on a self-guided journey through this 'trauma cleanse,' they are encouraged to contemplate the relationship between their personal hardships and the collective traumas that define their identity. This AR experience serves as a commentary on the pervasive desire within the capitalist tech sphere to 'remedy' all aspects of human life.

Notably, ERASR represents a compelling convergence of performance art and augmented reality, a dynamic fusion that enhances the participant's role in the artistic experience. Augmented reality necessitates active engagement, transforming the viewer into an integral part of the piece. This union of mediums opens doors to new dimensions of audience interaction and interpretation, allowing participants to explore the layers of human experience within the framework of this speculative dystopia. ERASR, in its satirical exploration, challenges us to grapple with the complexities of our own reality while reflecting on the ever-evolving landscape of technological intervention.

This piece was conceived with the idea of accessibility at its core. The decision to publish this AR experience on Instagram was deliberate, extending an open invitation to anyone with an Instagram account to engage with the narrative. This choice democratizes access, making the artwork accessible to a diverse global audience. In embracing Instagram as the medium, ERASR removes the physical constraints of a traditional gallery space, ensuring that anyone, regardless of their geographical location, can partake in this contemplative journey. This approach not only redefines the boundaries of traditional art exhibitions but also underscores the evolving relationship between technology and art in our digitally interconnected world.


Video recording of ERASR






Process: The images above are screenshots from Meta Spark that show how the experience was built. It uses node based coding to create logic that is used to control the entire AR piece. 






ERASR was originally designed as an AR art piece for online presentation, but it was also exhibited as a physical art installation in London and at he MEM festival in Bilbao, Spain. This expansion not only enriched the audience's experience but also enabled a more diverse and engaging encounter with the performative augmented reality piece, connecting it with people in different settings and environments. 





Experience ERASR by scanning the QR code below using your phone:

 EDIT // December, 2024: Unfortunately, the link does not work anymore after Instagram removed third party Augmented Reality Effects