Dear Nani is an ongoing project that addresses issues of gender performance and colonial mimicry through the family archive. The photographs included in this project are of the artist’s maternal grandmother, Rhubab Tapal. Nani is performing the act of cross-dressing by wearing several different outfits that belong to her husband. The photographs were taken on her honeymoon after the couple was newly married in Quetta and Karachi Pakistan, in 1948. The artist’s grandfather or Nana, Gulam Abbas Tapal, is the photographer and presumed director of the photo session.

As Nani holds a Children’s Encyclopaedia produced for subjects of the British colonies, she is performing not only the role of man, but also, an Indian man performing the role of a British man. As Naqvi tries to understand these images she puts herself into the unanswered questions. She tries on the role of Nani as well as some of the other contributors to the images, such as the unknown children in the background. The fictional dialogue between Nani and her grand-daughter attempts to unpack some of the questions surrounding these images, while also asking the viewer to revisit their own reading.