Statement

I am working with processes that suspend the spectrum of life and death, eternalizing the pieces in a suspended Post-Life state. A category of my own creation, I layer a Post-Life skin on my subjects with crystals, a material that simultaneously entombs the work while continuing to grow. I give an object a new death, redefining its existence. To do this, I submerge my sculptures and paintings into a sixty-seven gallon container of solution and grow crystals on them.
History as a study is viewed as permanent and unchanging, but with my work I seek to alter this mode of thinking. I am working to consecrate these objects by turning them into relics–replacing their history with a fabricated memory. As the daughter of a first-generation Lebanese immigrant, I’m using this Post-Life skin to question heritage and ancestry of immigrant children in the first-world United States and subsequently reimagining history, culture, and tradition.
Install Shot 1
Install Shot 1
I am working with processes that suspend the spectrum of life and death, eternalizing the pieces in a suspended Post-Life state. A category of my own creation, I layer a Post-Life skin on my subjects with crystals, a material that simultaneously entombs the work while continuing to grow. I give an object a new death, redefining its existence. To do this, I submerge my sculptures and paintings into a sixty-seven gallon container of solution and grow crystals on them.
History as a study is viewed as permanent and unchanging, but with my work I seek to alter this mode of thinking. I am working to consecrate these objects by turning them into relics–replacing their history with a fabricated memory. As the daughter of a first-generation Lebanese immigrant, I’m using this Post-Life skin to question heritage and ancestry of immigrant children in the first-world United States and subsequently reimagining history, culture, and tradition.