Pussy Magic

The “Pussy Magic” collection is a celebration of the awe-inspiring wonder and beauty of the female anatomy, and a deeply healing process for me as an artist. Starting with a watercolor base, I apply Chine-collee to add dimension and layers, followed by intaglio prints for accents and details. My intuitive process is driven by a deep reverence for the personalities and characteristics of vulvas, and the joy and celebration they bring. In some pieces of this series, I also explore menstruation and other bodily fluids as a way of reclaiming and honoring the natural processes of the female body. Through this collection, I invite viewers to join me in exploring the beauty and power of this often-stigmatized aspect of the female experience, free from shame and stigma.

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The Inanna collection is an ode to the forgotten mythological and archetypal power of the Goddess of female fertility and sexuality. Inspired by the OG Venus goddess of Sumer, this collection draws upon Wolkstein & Kramer’s translation of tales and songs inscribed on clay tablets found in their book “Inanna: Queen of Heaven and Earth.” Specifically, the verses taken from “The Courtship of Inanna and Dumuzi” – the world’s first love story dating back to 2000 BC.

One excerpt in particular inspired my collection:
“My vulva, the horn,
My Boat of Heaven,
Is full of eagerness like the young moon….
As for me, Inanna,
Who will plow my vulva?”

These words, shockingly forward and erotic even by contemporary standards, speak to the primal and sacred aspects of human desire. The prints in this collection are layered with meaning and symbolism, featuring depictions of the crescent moon, the star of Ishtar, and the ancient Sumerian goddess of love.

Through this collection, I seek to reclaim the forgotten tales, myths, and legends of female eroticism and sexual sovereignty.

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Ink & Intricacies

The collection of veiled women is a series of positive and negative solar intaglio prints that explore the subject and tension between revealing and concealing, the seen and unseen, the public and private. Inspired by the intricate latticework of mashrabiyya screens found in Islamic architecture, the prints incorporate a variety of textiles and patterns to create relief and texture, interrupting the ink from penetrating the paper in certain compositions. Through this interplay between the simple elements – paper, press, plate, ink, and textile – and the subject matter of the veiled women, the collection offers a visual commentary on the complexities of identity and visibility in contemporary society.

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Concealed Desires

My collection entitled “Concealed Desires” is an exploration of the hidden fantasies and desires of women, inspired by the 28 letters of the Arabic alphabet. Through this first edition series, I create art for each letter and embody a woman whose name begins with that letter, delving into her unspoken desires and kinks. The shadow prints, embossed with delicate yet erotic elements and designs, add a subversive and seductive layer to the series, revealing unexpected layers upon closer inspection. Drawing inspiration from tribal “sedu” patterns, I adopt a soft geometric approach that deviates from the precise geometry of Islamic architecture. The inked up series, intentionally candy-colored or jeweled, adds a playful and approachable element to this exploration of taboo desires. This series was also an exercise in finding the right terminology and colloquialism to offer more accessibility to the art and its subject matter.

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Thikr: Memories Reclaimed

In my printmaking series, “Thikr: Memories Reclaimed,” I explore the intersection of two collections: Inanna and Veiled Identities. On one hand, the Inanna collection celebrates female sexuality with excerpts taken from “The Courtship of Inanna and Dumuzi” – is the world’s first love story dating back to 2000 BC. On the other hand, Veiled Identities features prints of veiled women, explores the complexity of identity and desire. One cannot separate these women from their history of Inanna.

Layered with tarlatan scrim to create relief and texture, together, these two collections create a visual commentary on storytelling and the power of memory. The word “Thikr” in the title comes from the Sufi tradition of “remembering,” and in this context, it is a call to remember who we are as Arab women – the archetypal and mythological power that has been forgotten. Through this series, I offer a visual commentary on storytelling and oral tradition, and a reclamation of our lost ancestral memories.

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