As we move into the latter part of March, I’ve been finding myself reflecting on multiple realities: the high-octane energy of the international art world as represented by the recent Art Basel here in Doha; the reality of now living in a war zone in this same place, and the quiet, inward-turning during the Blessed Month of Ramadan. More than ever before, I have kept reminding myself and my family that “it’s still Ramadan” I spite of the war, I’m still grateful for the increased clarity and new inspirations I continue to receive in Ramadan bi ithniAllah.
It’s still Ramadan and it’s still the perfect time to be creating.
Looking back at January and February, the year has already felt incredibly full. One of the most grounding experiences for me recently was attending the Mujadilah Conference. Engaging in those deep dialogues about the role of Muslim women in societies worldwide provided a lot of intellectual “fuel” and encouragement for work that I’ve been carrying into my studio practice lately.
A Historic Debut: Art Basel Qatar
It almost feels unreal to say this, but just last month, I had the pleasure of attending the first-ever Art Basel Qatar in Msheireb Downtown Doha. Being on the ground at M7 and the Doha Design District for such a landmark event was surreal. I loved how the “Becoming” theme moved away from traditional booths toward open-format solo presentations—it felt much more like a curated conversation than a standard trade fair. I returned to my studio with a notebook full of scribbles and a renewed sense of what’s possible for our regional art scene.
I particularly enjoyed visiting the Pan-African textile art exhibition, Ade’nnsãda! at Liwan. Seeing how the participating artists use weaving and batik as a “conceptual architecture” for history was deeply inspiring. It’s a powerful reminder that craft is never just about the object; it’s about the story it carries.
Community & Craft: Liwan for Good
The spirit of community is at its peak right now with the Liwan for Good Ramadan market. I know this will quickly become one of my favorite annual traditions—a space where charity meets design. It’s been wonderful to connect with so many of you there and showcase my work alongside local artists and artisans who are keeping traditional crafts alive in such a modern, authentic way.
A New Addition: A Table Spread from Heaven
I’m also excited to finally share with you a project that I debuted during the February happenings at Liwan. I’ve released a new hand-pulled linocut print “A Table Spread from Heaven” that is an exciting example of my recent explorations in texture and form.
- Size: 15 cm × 20 cm
- Details: Open edition, hand-signed
- Availability: It is currently available for inquiry—feel free to reach out if you’d like to add this piece to your collection.
Looking Back to Move Forward
As I worship, contemplate, and immerse myself in Ramadan, my studio, and the state of the world, I’ve been revisiting my own archives. I would like to invite you to revisit this collection of my past Ramadan reflections—a series of essays and notes on gratitude and spiritual growth from years past. Reading through them has been a grounding exercise, reminding me of the spiritual rhythms we return to every year.
The sanctity and celebratory nature of the Ramadan has been complicated by a state of emergency here in Doha. Following the outbreak of war between the U.S., Israel, and Iran, we have experienced several strikes hitting locations in Qatar. Like many others, I am currently sheltering at home with my family as we navigate waves of missile threats and the terrifying vibration of intercepted munitions nearby. It is a surreal and heavy time, and I ask that you please pray for us—for our safety here in Qatar, and for the protection of our brothers and sisters in Iran and Palestine who are enduring so much. In this month of mercy, may peace find its way to us all.
Reflections from Afar: US Exhibitions
While my physical reality is currently confined to sheltering here in Doha, my work continues to occupy space and hold conversations across the ocean. I want to remind those of you in the States that two significant group exhibitions are currently running. At the Cummings Art Center in Connecticut, my multi-channel video installation Metem is part of Borderlands: Soft Margins, Hard Truths (closing March 6), exploring the delicate geometry of family homecoming and Guyanese identity. Meanwhile, in Minnesota, The Manifest, The Hidden at the Perlman Teaching Museum (running through April 12) features my work alongside others exploring the “entanglement” of Islamic geometry. In a moment where the world feels fractured by hard borders and conflict, these explorations of decolonization and metaphysical beauty feel more vital to me than ever.
Recent Publications
I’ve also been incredibly honored to see my work take on a life of its own in print this season. The dining room wall from my Close to Home exhibition is featured on the cover of the latest issue of The Black Scholar (Vol. 55, No. 3-4), a milestone that feels particularly meaningful given the journal’s storied history of Black intellectual and creative rigor. Additionally, I am pleased to have contributed to The Light of Distant Stars, a publication by the Contemporary Image Collective (CIC) in Cairo. Both projects explore the intersections of memory, identity, and the metaphysical—themes that continue to anchor my work as it travels across different global contexts.
