2026
Weaving
Manila rope
Manila rope
Binaries, comes out of an ongoing investigation into borders, separation, connection, and the systems we build through material. It is woven through sustained tension, where even the thinnest threads, when held together, carry the weight of something far greater, forming strength through accumulation.
Through the process of weaving, I realized that opposites aren’t fixed. This work represents the strength found in fragility.
2024
Coiling, felting, knitting, spinning, hand stitching
Repurposed fabric and multiple material yarns
Repurposed fabric and multiple material yarns
I thought about how courage shows up in different ways for different people. Some feel it instantaneously in moments of need, while others require preparation and time to gather courage.
I took courage as a “gathering emotion,” similar to a volcano building up pressure before it erupts.
The volcano gradient transitions from white at its base, representing a neutral state, to orange and red at the top, representing courage in its fullest form.
2025
Weaving
Rafia, Copper wire, wood twigs, switchgrass, cotton yarn
Rafia, Copper wire, wood twigs, switchgrass, cotton yarn
Branching explores organic growth, divergence, and the ways forms evolve through tension and expansion. Inspired by natural systems such as trees, roots, river deltas, and veins, the piece reflects patterns of movement that are both structured and fluid.
Branching’ is part of my ongoing exploration of material systems, structure, and growth. Created with 1080 threads, the work became an intensive study of repetition, tension, and accumulation. I combined wire and raffia to investigate the relationship between contrasting materials, raffia as a natural, soft, and tactile fiber, and wire as an industrial, rigid, and structural element.
Bringing them together allowed me to explore how softness can coexist with firmness and how that combination can visually and physically represent growth, splitting, and expansion.
Visually, the piece draws from the desert landscape of Qatar, its shifting dunes, cracked surfaces, and winding pathways shaped by wind and time. These landscapes informed the branching forms and layered textures within the work. Through this piece, I think about growth as something non-linear: adaptive, expansive, and constantly in the process of becoming.
Branching’ is part of my ongoing exploration of material systems, structure, and growth. Created with 1080 threads, the work became an intensive study of repetition, tension, and accumulation. I combined wire and raffia to investigate the relationship between contrasting materials, raffia as a natural, soft, and tactile fiber, and wire as an industrial, rigid, and structural element.
Bringing them together allowed me to explore how softness can coexist with firmness and how that combination can visually and physically represent growth, splitting, and expansion.
Visually, the piece draws from the desert landscape of Qatar, its shifting dunes, cracked surfaces, and winding pathways shaped by wind and time. These landscapes informed the branching forms and layered textures within the work. Through this piece, I think about growth as something non-linear: adaptive, expansive, and constantly in the process of becoming.
2026
TC2 weaving
Reed and cotton
Reed and cotton
Resistance can take many forms and does not always appear as an over political gesture. It can exist in quieter acts, how we treat others regardless of race, color, or religion. The process of weaving becomes a contemplative and intentional practice through which these ideas unfold, allowing the textile to embody both tension and possibility within systems of division.
2025
Weaving
Reed, cotton yarn
Reed, cotton yarn
Bridging explores ideas of connection, how different elements come together to form relationships or transitions. Using reed and thread, I investigated how woven surfaces can move beyond flatness and begin to occupy space.
I worked with waffle weave because of its inherent grid and dimensional texture, which naturally creates pockets, tension, and rhythm. This structure felt closely connected to the idea of bridging, of creating forms that both connect and hold.
Reed was a material I had experimented with in earlier work, and returning to it allowed me to extend that inquiry further. By combining reed with thread, I was able to bridge traditional flat weaving with sculptural possibilities, exploring how a woven form can become architectural, responsive, and spatial.
I worked with waffle weave because of its inherent grid and dimensional texture, which naturally creates pockets, tension, and rhythm. This structure felt closely connected to the idea of bridging, of creating forms that both connect and hold.
Reed was a material I had experimented with in earlier work, and returning to it allowed me to extend that inquiry further. By combining reed with thread, I was able to bridge traditional flat weaving with sculptural possibilities, exploring how a woven form can become architectural, responsive, and spatial.
2026
Weaving
Copper wire, econyl yarn, metallic yarn
Copper wire, econyl yarn, metallic yarn
Gold is taught to be higher.
Silver is taught to follow.
But I have seen sunlight on snow
where gold dissolves into silver,
where warmth rests on cold,
where value cannot hold its hierarchy.
Silver is taught to follow.
But I have seen sunlight on snow
where gold dissolves into silver,
where warmth rests on cold,
where value cannot hold its hierarchy.
2024
Needle lace, weaving, crochet, knitting, reed wrapping
Through this juxtaposition of the two pieces, I explored the tension between presence and absence, the seen and the unseen. The front piece represents the fleeting, vibrant moments of life, full of activity, while the back piece symbolizes the quiet, often unspoken realities that underpin those moments: loss, separation, and the unknown future. The slits between the layers allow the viewer to look through one moment to the next, suggesting that while life may appear full and animated, there is always a deeper layer of uncertainty beneath it.
2026
Weaving
PVC yarn, monofilament, fabric strips
PVC yarn, monofilament, fabric strips
I do not see borders as endings.
I see them as unstable edges
as places where meaning shifts,
where value unravels,
where something else can begin.
2025
Weaving, basketry, coiling
Copper wire, reed, twill cotton and silk yarn
Copper wire, reed, twill cotton and silk yarn
Hudood means ‘boundaries’
This explores the themes of separation and connection through the metaphor of borders, both physical and systemic. It addresses the impact of borders, migration, and systemic restrictions on human lives. These barriers dictate how people interact, move, and are perceived in the world.
Materiality is central to the process. Copper wire, chosen for its rigidity, becomes a representation of restriction and resilience. When touched, the piece creates sound. Half of it is conductive, and half is not, as the system allows some to pass while silencing others, mirroring the selective permeability of borders and the inconsistency of freedom.
The work suggests that migration is not just movement, but a process of transformation. To move through systems, to push against them, is to be changed by them.
2025
Coiling
Repurposed fabric, cotton
Repurposed fabric, cotton
Containing is about overlap, interaction, and the ways in which individual systems come together to form more complex structures. The work considers how forms intersect, influence one another, and merge into new configurations that extend beyond the capacity of a single unit.
The piece began with a trifoil form, repeated 32 times. Each unit was then interlooped, allowing the forms to connect, tension against one another, and collectively generate an octahedral structure.
This piece reflects on how complexity emerges through interaction. Rather than existing as isolated elements, the forms rely on one another, structurally and visually to create a whole.