Amin began his career by exploring motifs and images closely related to Hindu mythology and Buddhist civilization. Some argue that Pakistan was the source of modern day Hinduism, and that even its name was taken from the Indus, the river that courses the entire length of Pakistan before emptying into the Arabian Sea. Ghandara, a civilization marked by a tradition of Greco-Roman style sculptural renderings of the life of Buddha, flourished in what is now Pakistan in the first century AD. These periods in Pakistan's spiritual past have served to inform Amin's sculpture. His father, a painter, was a collector of antiquities from these periods, and his collection inspired and awed Amin as a child. By exploring the religious images of his country's past, as well as his own childhood memories of this iconography, Amin attempts to understand himself, his home and his own spirituality.

Throughout his body of work, Amin depicts the elasticity of time in his homeland, where past, present and futures often appear to coexist without contradiction. Often the artist succeeds in collapsing time within a single composition. By combining anachronistic materials and images, Amin hopes to locate symbols that are timeless, and therefore contemporary. Whether recalling lost gods or lost techniques, Amin, an innovator of tradition, assembles a sort of semasiology of the spirit, a system of representing what is pure in us all.