Panel nos. 1 & 2 (2024), india and alcohol ink on steel panel from temporary construction fencing. Installation view.Panel nos 1 & 2. (2024), india and alcohol ink on steel panel from temporary construction fencing. Installation view.Panel no. 1 (2024), india and alcohol ink on steel panel from temporary construction fencing. 120x180cm. Panel no. 1 (2024), india and alcohol ink on steel panel from temporary construction fencing. 120x180cm. detail shot.Panel no. 2 (2024), india ink on steel panel from temporary construction fencing. 40x40xx180cm.Panel no. 2 (2024), india ink on steel panel from temporary construction fencing. 40x40xx180cm. detail shot.Sculpture no. 1 - watchdog (2024), assemblage of pvc pipe, metal wire, wood, rope, acrylic paint and alcohol ink, on rock. 12x13x30cm.Sculpture no. 2 - paper airplane (2024), papier mache of book pages using india ink on steel panel from temporary construction fencing. 180x60x30cm.
Sculpture no. 2 - paper airplane (2024), papier mache of book pages using india ink on steel panel from temporary construction fencing. 180x60x30cm.Sculpture no. 2 - paper airplane (2024), papier mache of book pages using india ink on steel panel from temporary construction fencing. 180x60x30cm. detail shot.Sculpture no. 3 - let me tell you something (2024), one copy of Han Kang’s book ‘Human Acts,’ steel rod and connectors from construction scaffolding, metal wire, paper tape, terra cotta pot, gypsum, and india ink. 205x35x45cm. Imposed into everyday space.
Sculpture no. 3 - let me tell you something (2024), detail shot. Sculpture no. 3 - let me tell you something (2024), detail shot.
Debris & Erasure Series (2024 — ongoing). Drawings, Assemblages, Sculptures; construction debris & other materials, dimensions vary.
A series of drawings, assemblages, and sculptures that examine censorship and erasure. What does it mean to leave something out of history, or to silence? Who decides that? What violence is invovled in upholding official narratives? And where does the individual situate themself within the collective in these situations? The construction debris utilized as the base material for these works were both easy to come by in Abu Dhabi, and seemingly an apt metaphor for things left out and discarded.
Panel nos. 1 & 2, exhibited at Gulp (2025), Project Space, NYUAD Art Gallery. Curated by Anita Shishani.