“The anatomy of cocooning, de-cocooning and re-cocooning" series frames a symbol that embodies an illusionistic transformation on the verge of happening capturing my daily repetitive and exhausting do-it-over-and-over routine. However, interrupted by ongoing surge of mass killing, and genocidal wars in the Middle East, the cocoon takes on different forms that represent a state of unrest linking various ephemeral-ties, physical presence and absence. The complexity and the fragility of such a symbol adapts dramatically to a semi-autobiographical poetic narrative of a bilingual nature. The transforming symbol of a cocoon altered from a self-analytical examination and a commentary on the traditional chores of the everyday role in the house metamorphosed into a symbol of a confiscated dream. My chosen objects equate not only with kitchen products/ingredients such as tea bags, coffee filters, sweet potatoes' skin, egg shells, date seeds,  but also plants, dolls and collectables…, items that  implement an image of a self-projected struggle over being the passive spectator versus the active one .

These objects are accumulated obsessively and altered to have a visual impact beyond their own functionality; their forms and textures are driven by the innate sense of the artist's experiences but yet influenced by a recent geopolitical perspective. As my theme metamorphosed from the personal to the global struggle, the teabags, coffee filters, potatoes, and other objects used in my work, became figures of distress consumed by the cycle of life and death; however, whether arbitrarily embedded in my subconscious or carefully and consciously selected these objects are analytical tools that play on resolving a situation on hold that is meant to move forward and evoke a notion for change. No longer is the cocoon that holds the potential of new life, the tea bag metaphorically and symbolically used to represent the motherland as an invaded female body exhibiting open wounds and representing the fabrics of battered society. This narrative is shown in blood-like colors and shriveled texture of the used teabag as they hold a grotesque and morbid reality.  They experience a loss of life, space and time. Their contrasting placement within the artwork indicates signals of displacement; their lack of belonging as well as their entrapment is a purgatorial landscape: a background with either a directional or stagnant force that is not interactive with the visual.

In conclusion this visual experience has an underlying sense of hope to a positive change. It embraces metaphorically the ambiguity of life and its contradictions in hope that this scheme which is overlapping aesthetics and ethics demands our moral responsibility to restore the balance of our life as a whole.

This body of work depicts a transformed still life in an abstracted/representational form that is digitally altered, printed, torn, mounted, painted and layered with mixed media to convey the intended message.