Artist Statement

My research and creative practice center on hybrid practice, where traditional techniques meet emerging technologies. Rooted in printmaking, my work explores intersections between analog and digital methods, blending processes such as intaglio, screen printing, and relief with digital fabrication, photography, moving image, and time-based media. In recent years, I have expanded this inquiry into 16mm and 35mm film, approaching the moving image with the same sensibility I bring to print layering, exposure, and transformation.

Printmaking, with its history of reproducibility and exchange, is uniquely positioned as a practice of transformation. It enables crossovers between tactile labor, conceptual rigor, and technological innovation. Like Richard Hamilton, who noted that “a medium need not sit in isolated purity… the first objective is to achieve a compelling image,” I approach projects with an openness that privileges ideas over medium. This orientation allows me to ask what a print can be, do, and say in the present moment—whether as an impression, an object, a trace, or a time-based image.

My projects often embody this philosophy at the threshold of tradition and innovation. In Liminal Margin, copper plates etched with embassy letters traveled across borders I could not cross myself. Altered by the hands and environments of others, they returned as material witnesses to displacement and exchange, reflecting on the fragility of identity under imposed restrictions. In Con-figuring (2020), hand-cast concrete and resin cubes quantified the devastation of war in Syria, their color coded strata referencing factional divides, while an accompanying 16mm film mapped scarred geographies of conflict and absence. More recently, Terrain Ahead (2021) expanded this inquiry into ecological contexts, documenting the UAE’s coastlines where visibility, erasure, and transformation of the environment mirror broader tensions of change and loss.

My dual role as artist and educator has deeply influenced my process. Technical fluency enables experimentation, while my commitment to DIY and sustainable approaches informs both teaching and studio practice. These methods extend the possibilities of printmaking and situate my work within broader dialogues in contemporary art, where hybridity is not only a methodology but also a way of thinking about how knowledge and culture are produced.

By holding technical process and conceptual research in dialogue, my practice situates itself between tradition and innovation, material and metaphor, presence and absence. Ultimately, I aim to reimagine borders—not as static lines, but as shifting, permeable sites of memory, exchange, and possibility.