Afterimage (after Haft Peykar) was developed during the recent war involving Iran, the U.S., and Israel. The work draws structurally from Nezami’s Haft Peykar and gradually subjects that structure to erosion, burial, and disappearance. Across the sequence, figures shift through different states of presence: fully rendered, partially absorbed into their surroundings, reduced to silhouettes, and finally absent altogether. The gradual desaturation of the panels emerged from thinking about the visual aftermath of bombardment, where architecture, objects, and bodies become covered by the same layer of dust and debris.