Growing up, I recall knitting with my grandmother as she related stories of her life in Lebanon. This intergenerational narrative is very present in my work, the passing of the skill and memory from one generation to another. The durational practice of the craft is significant here, as it allowed me to share and reflect on my grandmother’s stories as we stitched together. My handmade objects provide comfort and connection with the past through the reuse of material and the recollection of the stories embroidered on them, making that which might have been passed on aurally into something physical.

My investigation is that of the limitations of a visual language within fine art, leading me to explore the fundamental elements of language that contribute to a story.  Communication is what binds us and arguably divides us.  Some express themselves best through a newspaper article, others a poem or a thesis.  My message is channelled through the visual.  I recount generational narratives in relation to my heritage.  My focus on developing inter-cultural dialogues is a vital step in offering alternative ways to see the world and initiating dialogue about the globalised world we live in. 

By reviewing history, authorship and authenticity, cultural and historical customs are drawn out and communicated. Stories are recounted which are personal and intimate, exploring identity as a woman of Lebanese origin, my family ties and the understanding of sitting between two cultures. Although these stories evoke personal revelations and questioning of my own realities, I am adamant that they refer to issues that are universal.  I use my art as a platform for expression in order to create an arena for discussion rather than an imposition of thought. If it ignites a spark of reflection in the viewer’s mind, then the work has succeeded.

My current work focuses on the recycling of found and disposable objects.  The pieces explore loss, migration and memory, with a particular focus on the Middle East, through the histories contained within aged and culturally specific objects.  This idea of the development of a generational craft work that spans time at once explores hand-me-down skills, stories and community – and by extension, the intercultural nature of British society. Putting British society to one side, I would emphasise the intercultural nature of my own identity.  When someone asks me where I’m from and I answer ‘London’, they often reply,  “Yes, but where are you really from?”  It’s this word ‘really’ that baffles me. How much more real can I get?  When I am in Lebanon I can say I am perfectly assimilated. I speak fluent Arabic and look Lebanese.  I am familiar with the culture and country, yet I am socially excluded.  Am I really entitled to Lebanese nationality, not having endured their struggle? It’s this sitting between two cultures that I embrace and try to demystify through art.  I am very much a product of my environment; the challenge here is trying to understand what environment that is.