Abbas has for some years been experimenting with marble inlay (Pietra Dura) a decorative art form that involves the use of carefully cut and fitted coloured stones to create intricate images, breaking new ground as she pulls this traditional practice away from its historical function to create a new form of aesthetics. Her works reference Mughal architecture and its traditional use of garden motifs, where idyllic images of landscapes epitomise paradise and perfection, immortality and mortality; an earthly utopia in which humans coexist with nature in perfect harmony; she unearths the symbolic significance of nature imagery in relation to architecture and their interplay in the representation of nature and colour.

Drawing attention to the geographical origins of Lapis lazuli, particularly in Badakhshan, Afghanistan, Abbas investigates its historical significance and sheds light on its utilisation in the history of art, unravelling its cultural and artistic implications. Through her research, she uncovers the rich heritage associated with this precious gemstone, revealing its historical usage beyond its purely visual qualities.

Mountain 4 (2023) is a triptych that captures the pursuit of perfection and truth.