[the desire to not exist] 2015 - dye sublimation print on aluminum.
A triptych investigating the subalternity of the veiled subject, and the lack of public interest in her narration of her own story, thus, renderring her own voice irrelevent both in the west through islamophobic portrayals of the veiled woman as a victim to be freed, and in the east through rigid patriarchal roles that impose voicelessness on her. the photo installation toys with poetry and existential dread, as experienced by the veiled subject, who expresses her agency through her eventual refusal to share her story. the visual installation has been displayed a number of times, and is currently part of the permenant collection of Bates Museum of Art. It additionally was shown as a large wall mural in the Fully Booked book fair in Dubai, circa 2017, where the purpose was for the mural of the intentionally voiceless veiled subject to loudly intervene in the space, thus expressing her agency. (photo credit: Alserkal avnenue, fully booked book festival 2017).
[what she wore] 2014 - 24 x A3 Archival Prints Mounted on MDF Hung on plywood board painted in white with simple screws.
what she wore what she wore is a satirical installation that attempts to produce an iconography of images of women in traditional dress that troubles the hegemonic portrayal of the veiled subject as regressive and unagentic. Inspired by the digital media trend of posting outfits of the day in the West, what she wore shares the Abaya, which is the traditional gulf region dress reseved for women.; which has become symbolic in the west for the subject of liberation projects. The iconography presented in what she wore showcases the range of Abayas that women can wear to the various function in their lives, thus presenting a different, more nuanced and complex version of liberty that isn’t reading off of the Western script of liberation. (Photo credit: Venice biennial, Rhizoma: a generation in the waiting, 2015)