Centering my art on my Arab diasporic identity, the concept of entry - and its dual nature as privilege and right - has been at the core of my most recent art practice. I am interested in developing performances which problematize the (in)ability of bodies to traverse stereotypical constructions of ethnic and gendered identities. I began experimenting with interventions in attempts to escape from both the architectural and the bureaucratic nature of the gallery space.  By opening art up to a greater public whose presence was circumstantial and non-contingent, I intended for the larger social environment to become the context, and content, for the work.

My works aim to investigate the parallels of exclusion between the colonial state-structures and the more veiled exclusion of ethnic minority within cultural institutions. Such understanding allows me to produce works that are accurately situated within the historic practice of artists of color who have instigated such practices since the 1960’s. The context of my work is rooted in direct personal experiences of racism and xenophobia (specifically Islamophobia and Orientalism). These experiences are undeniably linked to the socio-political fears of the West from “threats” of the Arab World- which are intricately linked to similar "threats" posed by African-American and Latin Americans.

Completing an H.B.A Specialization in Semiotics and Communication Theory has given me a solid grounding in applying my artistic practice in an interdisciplinary context.  To date, I have expressed my knowledge in the fields of post-colonial, feminist, cultural and social theory as a professional artist through performance-art.  By adopting the politics of the moving body as an underlying theme of my performance-art works, I fulfill my fundamental interest in examining power relationships between state systems and historically disempowered communities- particularly as it relates to transnational identities.