My practice occupies several crossroads—crossroads between pattern and poetry, ritual and time, and obsession along with devotion. Curiosity is my primary medium.
My work is heavily relational, from the process of making in shared spaces, collaborative endeavors in instances of movement and sound, as well as experiential qualities in exhibition. I draw somatic influences from my child and young adulthood as a ballet dancer; I seek to work viscerally as a result. Theatre set design heavily influences the way I think about my installation work.
I explore the indexical essence of ancestral memory concerning my Palestinian and German familial background. With much of my nomadic, polytheistic, nature listening, star studying ancestors histories lost, destroyed, or held behind glass in museums, I contemplate the life of the misunderstood artifact. I apply this same thinking towards humankind as artifact as we continue to attempt escape from aging, natural disaster, decay, and collective feelings of bodily inadequacy through the digital revolution. Reflecting on the state of history regarding my own ancestors allows me to correspondingly reflect universally.
Through printmaking, papermaking, sculpture, photography, dance, and sound, My multi-media installations and print work allow me to work intricately and provide the chance to express my interior world in conversation with the world around me. Finding myself immersed in an enigmatic moment in the presence of art is a gift I have received from my predecessors, and one I hope to give as well.