Masricani (American-Egyptian) Muslim sculptor creating works that focus on the perception of identity in a trasncultural atmosphere, reflections of personal history and remarks on social stigma.
I am Interested in the intersections of what it means to be American, Muslim, Egyptian as a woman. I am working between the conflicting layers of each identity and meshing them into one to create a space for myself and materialize my perceptions of heritage, gender, religion and sexuality. Due to the social stigma associated with my Middle Eastern culture and Muslim religion, I create work that confronts these misconceptions yet offering my own opinion on the tensions between the intersections of identity through formal and gestural works. Allowing the emotional strain that develops within the layers to speak and the space I inhabit to surface. Recent works are exploring identity through grief and its force of reconciliation of potentially conflicting attributes of gender, religion and sexuality within an individual.
My current practice s focused in navigateing the delicacy of material and its ability to communicate tension and struggle under stress. Pushing a substance to its limit before its breaking point, freezing the moment before a collapse.The materials yield a direct metaphor in regard to the character of women or their actions. I use stone or stone mixes because like women, stone has been present in any society since the beginning. Stone is pinnacle to the foundation of any society as it is strong, diverse, stoic, yet grossly overlooked. The use of bronze relates to the actions of the women. Like her actions, bronze is versatile and beautiful as an art from, but also useful as a weapon or tool outlasting the ones who made it. The use of fabric in my work allows me to make a connection between the viewer and myself in our relation to what is typically “feminine”. In the sense of women’s relationship with fabrics and the Islamic dress code that has essentially become part of the identity of a Muslim woman. I cast the fabric in cement to make the soft, subtle folds and creases in the drapes of the fabric ridged. This application physically becomes the figure instead of enhancing a figure by draping it over the body. With the rough textures and almost gestural approach to these sculptures, I am communicating the aesthetic memories of my culture and the other side of its character.