My practice is inherently multidisciplinary: photographs are sculptural, sculptures are painterly, and paintings reference photography. I’m interested in how we construct meaning through inherited frameworks such as language, symbols, and boundaries, and how these paradigms shape our understanding of self and world.

I often use technological glitches as metaphors for the limits of language, which by nature cannot capture intuition. This speaks to a broader inquiry into how we perceive and explain ourselves through reflections and representations, rather than through actualities.

I use magnification instruments to participate in the advancement of “eyes,” which began with the planet having no sight—from photoreceptors growing into multicellular organisms and cells forming eyes, to humans inventing technological eyes such as microscopes to observe both smaller and larger scales.

Drawing on evolving perceptions, I examine the assumption that proximity leads to clarity, proposing instead that the closer we look, the more abstract things become. This tension between proximity and distance, materialised through pixelation and scale, reflects my own relationship with my homeland, Syria, which until recently had been inaccessible for 15 years.

At its core, my work considers how rigid notions of separateness operate across individual, social, and national frameworks. Natural motifs—particularly flowers—appear throughout my work as a means of linking personal ancestry to broader geopolitical conditions. I explore how the roots of people and the roots of plants operate across borders. As flora cross borders and skin cells are absorbed into landscapes, the idea of fixed boundaries—both political and bodily—comes into question.