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Umar Rashids portraits fold history in on itself, merging centuries into a single, continuous narrative. Each triptych depicts three of the artists friends, yet the figures seem to exist across multiple timelines.

Some appear in contemporary clothing while others wear historic attire, collapsing any clear sense of time and prompting the viewer to question whether time and progress are truly linear. Are these figures part of our world, or do they belong to Rashids alternate history, the Frenglish Empire? They seem to exist in a space where past and present exist side by side in perpetual conversation.

The result is a body of work that asks the viewer to consider not just who these people are, but when they areto question whether we are seeing them in our own timeline or within Rashids ever-unfolding account of empire, resistance, and survival. At the same time, it reminds us that the figures who populate historys grand narratives are also individualsfriends, fragile and specific as well as heroic and monumental.