Recent Works and Exhibitions 

Solo Expedition

Solo Expedition is an oil painting that treats landscape as a state of mind. Painted intuitively, the mountain becomes a quiet figure of endurance, built from restraint, light, and distance. Kurdish women are often forced into roles that require composure while everything underneath is shaking. The work is rooted in Kurdish experience, where place can feel both intimate and unreachable, carried through memory rather than returned to directly. 

The mountain becomes a symbol of endurance that is not romantic. It is cold, patient, and heavy with memory. It holds the truth that survival is work, and that survival is political when a people’s presence is continually threatened.

This painting stands against the conditions that normalise Kurdish women’s exhaustion. It insists that persistence is not silence, and that carrying on is not consent.

Oil on canvas • 2025

Group Exhibition at White Space, Edinburgh 2026

Witness Mountain

Witness Mountain is about Yezidi Kurdish women’s struggle, violence, displacement, and what’s carried afterwards. The mountain stands in for the witness the world often failed to be.

Witness Mountain was made in the shadow of the Yezidi genocide and the ongoing struggle of Yezidi Kurdish women living with its aftermath. The mountain here becomes a moral position: it remembers when the world moved on too quickly, and it holds what survivors are forced to carry long after headlines disappear. Reporting in early 2026 described fear and uncertainty among Yazidis and Kurds in Syria

It stands for remembrance that cannot be negotiated away, for accountability, and for the right of Kurdish women.

Oil on canvas • 2025

No Friend But The Mountains

No Friend But The Mountains treats landscape as testimony. Painted intuitively in oil, the mountain becomes a symbol of Kurdish survival, refuge and burden at once. The work holds a generational longing for a place that can feel both intimate and unreachable, turning geography into an emotional and political memory.

Oil on canvas • 2025

Group Exhibition at Kunstraum, London 2024

In The Refugee, the face becomes a site of testimony. The painting reflects the way refugees are often reduced to images, headlines, and paperwork, while their inner life remains unseen. Through a colour-led, intuitive process, the portrait insists on personhood, complexity, and dignity. Rooted in Kurdish struggle, it asks the viewer to look past the label and meet the human being inside it.

Oil on canvas • 2024

Red Offering is a portrait rooted in Kurdish women’s struggle and endurance. Painted intuitively in oil, the red becomes a language of what is carried in the body: grief, protection, rage held back, and love that survives anyway. The figure holds the tension Kurdish women know too well, being visible while needing safety, being soft while staying unbreakable.

The “offering” is not submission. It is what Kurdish women are asked to give again and again, time, care, silence, strength, even when it costs them. This painting honours that reality while insisting on dignity, presence, and the refusal to disappear.

Oil on canvas • 2024

Happy to share I’m exhibiting in a group show.

On view: The Refugee + Red Offering portraits about Kurdish displacement and the quieter survival of women: protection, grief, dignity, and staying visible.

Silent Hunter

Silent Hunter is about Kurdish women’s survival—how you become both vulnerable and vigilant at once. The owl becomes a symbol of protection and precision: seeing what others miss, staying standing, staying alive.

Oil on canvas • 2025