I was Born in 1962 in the city of Suleimany (Kurdish: Silémaní, سلێمانی) in Baban province in Kurdistan (Iraq). I Finished my education in Fine Art in 1994/97 and my Master of Fine Art in 1997/99 at the Middlesex University / London. In 2012 I finished my Doctor of Art at Middlesex University in London.
In the past 24 years my work has been shaped by a new cultural and political environment. My work has always been influenced by a strong political conviction in response to the environment that I grew up in, which was dominated by the unfair treatment of my people. Ever since I started work in Europe I have collaborated with other artists - poets, performers, story tellers.
The role of women in the pre-Islamic era was far more prominent. In the ancient artifacts the mother occupies the central role in the family. Women had an active role working in all fields alongside men. Decision makers and rulers were women as well as men.
Coming from a strongly patriarchal society after the Islamic invasion of Kurdistan I have always tried to reject defining gender in my figurative work. Inspired by pre-Islamic figurative works of ancient artefacts that exist in the museums in Kurdistan, I want to make the viewer change his/ her way of looking - to see man and woman as equal.
My new work in ceramics has entered a different phase - it is more like relief than drawing on clay. The lines are deeper in some areas and my drawing has matured, Lines have a significant meaning for me ever since I was a child and was able to understand that the borders of my homeland were occupied. In these drawings I am defining the borders and insisting on them to shape my form. It is important to me to see unbroken lines. In all the drawings eyes and hands are repeated - they convey the inner feelings of the figures to the viewer.
Some forms consist of straight lines and some of curved lines to create contrast. Some curves are exaggerated to create maximum effect. In the process of transferring the lines from paper and digital media onto clay I have tried not to copy the lines in exact form; instead I have drawn them more freely and sensuously. In these works gender is not specified. I have chosen no artificial colours in the new work. They are natural and earthy. The clay colours are inspired by the culture of the Mesopotamian period, from which my culture originated.
The process moves from drawing to digital media, then to print. From print it moves on to painting, and finally to clay. This process of transformation or reinterpretation is to be completed in form of 3D sculptures