Continuing the use of stamps as a symbol of how institutions construct and enforce binding codes and practices, he incorporates rubber stamps within his canvases.
Introducing his concrete motif in his work Concrete, 2010, Abdulnasser further questioned the unrecorded story of the forgotten village from The Path as a chance to understand why the people had blindly trusted in a manmade structure that ultimately failed them. Ruminating over this concept, Abdulnasser frequently drove in his car as a way to clear his head. He paid close attention to the demarcated doubles lines down the center of the road and also recognized the significant number of concrete blocks that sectioned off streets near construction sites. Seen as embarking on a conceptual and physical concrete road, Abdulnasser incorporated these traffic motifs as part of a larger discussion on detours taken by society.