Ayessha works in a way that has been natural to her since she was a child.
Visually, the process is similar to that of braille. Physically, she maintains contact at all times with two materials; one being the surface; the other is paint. Her hands perform two roles simultaneously: the right hand applies paint on the surface while the left removes the applied paint. Often, a rag is used for the excess. A set of hand gestures and motions repeated in different sequences during a period of four to twelve hours at a stretch, produce markings for a visual, visceral language.
Working through the senses, sound, smell, taste, touch and sight, and the repetitive nature of practice, the meditative may be reached.
Paint applied to suggest form and removed to hint at the formless, she mediates between the coarse and the subtle. Here, lies the aesthetic pulse of the work.
An intelligence that is aware of its own nature comes to realise its limitations. She believes that to see this clearly is liberating. It delivers into a space where knowledge is nonlinear and bears no opposite. This is a place of transformation.