My practice is a reflection on unlikely contradictions: the sacred and the profane, digital artefacts and ancient symbols, traditional
techniques and mass production. I am interested in what exists in-between, and the relationships between visibility and hiding.
My current work is influenced by my own relationship to memory, religion and queerness. Growing up within an Islamic framework
has influenced how I understand being seen. Both through ideas of divine observation and more contemporary forms of
surveillance. These experiences continue to inform how I think about visibility in my work, not as something neutral, but something that can be controlled or partially revealed.
Material plays an important role in this. I am drawn to synthetic surfaces, plasticity and colour. Often referencing childhood toys.
These materials are chosen due to their overlap between play and femininity. Exploring the relationships between playing
make-believe throughout one’s life. I approach materials in a non-hierarchical way, allowing found objects, fragments and
constructed objects to sit alongside each other.
My work sits somewhere between painting, sculpture and installation, often treating painting as sculptural. I am interested in how a viewer encounters work physically within a space through movement and obstruction. References to Islamic geometry and glitch aesthetics appear through processes of distortion and layering. Forms are stretched, repeated and reconfigured.
Recently, I have been exploring ideas of transcendence through repetition. Drawing on Sufi practices and mythological figures
such as the Buraq. I approach my practice as a way of testing what materials can hold.
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