Like many of the artist's other works 'Nyrmla's Wedding' seeks to assert the artist's identity as a British Asian. Focusing on the artists' sister this lively scene depicts the popular tradition of painting auspicious patterns of 'Mehndi' on the hands of the bride, in preparation for her wedding day. However, the main importance of this work lies in its attempt to highlight both the value and vulnerability of ethnic cultures against the advancement of global westernisation and economic progress. Hence, the wedding festivities (emphasising family values and community spirit) occur within the 'security' and 'optimism' of a colourful, decorative interior of the family home. This contrasts starkly with the view seen outside the window in the top, right corner of the composition. Here we see images of ecological exploitation, multinational domination and global destruction. These are "the products of modern 'progression' and 'advancement' which, unfettered, present the biggest threat of annihilation to many world cultures whose so called archaic and backward traditions and philosophies of life, conversely, offer a sustainable social and global stability".

 

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