Artist Statement
My practice focuses on systems design through material thinking, on ceramic material research and investigates how objects function as vessels for cultural processes. I approach clay as a collaborator in a dialogue about displacement, beauty, and the sensory experience of belonging.
My methodology is informed by two decades of commitment to cross-cultural dialogue, which I integrate into a teaching practice built across multiple languages and countries.
In my studio, I think about how stories are authored and told, alongside the aesthetic value of the sculptures and installations I produce. My research into glaze formulation and application, such as the low-fire luster reduction, a technique historically rooted in the Islamic Golden Age and the Silk Road, which I applied to a historical vessel, the Sufi beggar bowl pictured above, is a rigorous technical pursuit that allows me to think through cross-cultural pollination and to physically understand the paths of that cultural exchange. The ever-shifting history of migration becomes a reflective surface on the organic shape of the vessel, drawing the viewer in to sit, briefly, inside a history that is intimate and universal.
Leadership & Strategic Practice
Beyond the studio, I operate as a cultural programme strategist, translating psychological insights and cross-cultural fluency into operational frameworks. With over eight years of experience leading initiatives across the US, Middle East, and Europe, I specialise in designing inclusive arts ecosystems that prioritise equity, safety, and community resonance.
My managerial practice is rooted in the belief that infrastructure is a form of care. Whether directing studio operations for high-density residencies, managing six-figure production budgets, or serving as a grant panelist for major arts agencies, I approach logistics, finance, and team dynamics with the same rigor as my material research. I leverage my background in psychology to foster trauma-informed, anti-racist environments, ensuring that the spaces I manage are nourishing to the humans they inhabit.
From coordinating international co-productions to developing decolonial curricula for diverse student bodies, my goal is to build resilient networks where art can thrive. I view leadership not as the deliberate design of systems that allow diverse voices to be heard, funded, and sustained.