Digital painting series. Fine-art print. Various dimensions. 2010.
The title is borrowed from Emily Dickinson — a poet who spent her life negotiating the distance between institutional faith and private vision. That negotiation is the subject of this series.
Islamic art has developed, across centuries, one of the most sophisticated visual languages in human history — built precisely around the problem of representation. When the human figure is restricted, ornament carries everything: meaning, devotion, identity, cosmology. I was trained in this tradition. I know what it means to construct a world from pattern rather than portrait, to make the invisible felt without making it seen.
This series works from that knowledge, but turns to face a different question. It places women — Dickinson, Monroe, Bardot — inside visual structures drawn from architectural and ornamental thinking. The East-West axis here is not political but perceptual: what does a gaze formed by one visual tradition see when it encounters figures shaped by another? What is revealed, what is concealed, and what is constructed in the space between?
These are not portraits. They are arguments about visibility — made by someone who was trained in the art of the visible and the invisible simultaneously.
300×300 cm and 450×300 cm. Fine-art print. Available on OpenSea. Contact for institutional licensing.
Faith is a fine invention 2010
In memory of Emily Dickinson
“Faith is a fine invention
When Gentlemen can see—
But Microscopes are prudent In an Emergency.”
300x300cm, fine-art print
Same same but different, 2010
450x300cm fine-art print
On the table
Great Birgitte Bardot, one of a kind.
100x230cm, fine-art print
100x230cm, fine-art print