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ion in line with our notion of “melting in” towards the Divine. These “wet” prints were aired for several days before being scanned unto a flatbed scanner atop an acrylic sheet. The beauty in this is that each scan would be a unique edition due to the varying ink movements and destruction, once scanned. The following figures illustrate some of the end results of the process. Several of these results were especially interesting in the way the losing of the mosque image still provide glimpses on what underwent losing; for instance, hints of calligraphic illuminations on walls (Fig. 4f), radiating shades of colours as well as light patterns, dancing organically, leaking the frame. (Fig. 4g) Figure 4e A before and after image of the experimental process,with the mihrab as focal

The art of 'none' to 'nur' : meditating loss in relation to Islamic aesthetics and spirituality within mosque spaces in contemporary Singapore