That’s quite a complex question. I’d say what hasn’t changed is what’s real. What’s real, what’s authentic, what’s at the heart of each person. I’m currently writing with a friend a sort of raw account of my path. And as you said, I’ve spent my time projecting into the future, and with pretty good accuracy, because I have a good nose. And I realize there’s this constant thread in my professional life that’s about the value of things. My friend once told me: “You don’t love fashion. It’s not fashion you care about. It’s the garment, what it means, what it carries, how it reflects something at a given moment.” That’s very powerful. And I keep finding that thread throughout every stage of my professional life.
And the other constant, for me, is non-compromise. I’ve never compromised. I’ve always been pretty radical in my decisions, in my judgments, in my sense of what matters, of saying, “That thing is really important. It’s coming. It’s what people crave.” And I was never wrong about that. So yeah, I think I do have a good nose. I’m like a hunting dog in a way.

This is something I’ve never really been able to put into words. I don’t plan out my pieces, I rely on my intuition and my body to lead me through making new pieces. I think I pick up on inspirations through artists I get fixated on and through architecture. This usually happens subconsciously and I don’t realize where the inspiration comes from until after I finish a collection. 

Before touching clay, it’s important to “center” yourself and approach the clay gently, or else it won’t respond well. Even if it’s a few minutes of silently meditating and checking in with myself and mind-body connection, it’s definitely something I wouldn’t do if I didn’t work with clay. I’m grateful that checking in with my body and mind is a huge part of my work.

Ceramics are some of the oldest representations of civilization, and represent migration patterns, rituals, and characteristics about the land itself. They are not only vessels for food and drink, they are vessels for tradition. I like the idea of ceramics outlasting human life and carrying these artifacts of humanity. I’m deeply moved by photos of pottery used in ancient Syria, the traditions that these masters used that are still carried on until today, and that we can still use these vessels in the same way. This is how ceramics “preserve time”, and how I feel I can stay in touch with my ancestors.

I’m extremely hard on myself when pieces don’t turn out the way I expect them to. There are so many variables of ceramics that are beyond the artist’s control. When I invest so much time and emotional energy into a piece and it breaks in the kiln or looks way different than what I expected, I break down almost every time! The lesson that I’m still learning through this is letting go of expectations and letting the piece be what it will be. 

I aim to tell a story of tradition through contemporary art. I know that my work falls into the category of modern art given the almost “synthetic” tone of blue, but I love bridging the gap between timelines –using ancient techniques, tools, shapes and materials to build the sculpture, then painting it in a tone that is so strikingly current. We have the ability to revisit timelines. So many people have told me that it’s not good practice to live in your past, and I understand that sentiment, but indulging in nostalgia and re-imagining the history of my ancestors brings me such a sense of peace. It informs a lot of my work.

The color blue is a big characteristic of Islamic art. As a kid living in Saudi Arabia, I was always surrounded by blue ceramics, blue tiles, blue textiles, and the sea. Blue is also seen to have protective mystical qualities in Islam, and protect against the Evil Eye. These themes I grew up with led me to become enamored by the color blue. Everyone has their own unique relationship to blue and I love that when people see my work, they feel close to the pieces in their own ways.

My perfect morning starts waking up slowly, listening to music before anything else, cleaning up my space and taking my time through a skincare routine that usually involves a face and scalp massage. Giving myself this gentle care before diving into work is a form of self-love that I really can’t start my day without. If I feel insecure in my body, it translates into my hands and reflects in my ceramics which is why it’s so important for me to take care of myself.

Skincare is a very new thing for me! I never really used to take my time with it until I found products that actually work for my skin. I use ROWSE every morning and every night. The All-Day Moisturizer, the Vitamin C Booster, and the Eye Contour Serum are the main things I’ve been using recently, along with the  Lip & Cheek Balm for a pop of color, the Regenerate Night Serum, and a very rich emollient to lock in all the nourishment during the harsh Canadian winter.

I’m looking forward to creating more light sculptures and using light and shadows as a medium. I’ve made a few large light sculptures before, but I’m exploring new shapes now and refining designs. I’m also experimenting with the opposite hues of blue, and trying my hand at red, orange and yellow pigments.