I am homesick for a place and era I haven’t lived, lived it only through the stories of my ancestors. I reside in my Grandmother’s room, my refugee place, in my family’s house where I grew up and found myself to be.  A place where my heart is full, my body loved and other half existed. I find my space in her room, I breathe when I step inside her world. I exist in every corner of her room, of my family house, the corners that soaked up my years and I was molded through the layers of its dust and painted cracks on the walls.
 Cairo, a city that is always in constant change and transitional moments, yet to say it’s still the same…The dust, the falling walls, the cracked paint along with the wooden doors, the windows, the rustic metals, and the aged texture…are all elements that create a spontaneous image of Cairo. A city trapped in its own past and stretching to an unknown future.
 During the Egyptian revolution, graffiti played a seminal role in the depiction of public perceptions of events. The streets served as a live platform where people voiced their opinions on many political and social issues. The graffiti was born within the dust and dirt, the crowded bustle and messiness of the city of Cairo. During the revolution, graffiti mimicked the highly fluid, often volatile scenes of Egypt at the time. It was all about symbolism, using minimal text and image to send direct, easily understood and recalled messages. Painting on the walls, stenciling and other art forms were often far more powerful and challenging than mainstream media. My work is a response to the graffiti covering the walls on Mohamed Mahmoud Street, a street that witnessed many of the now historically documented massacres. Local people, artists and activists documented and recorded these massacres by painting the portraits of the people who died on that street, turning the site into a graveyard commemorating their loss. The walls became invisible behind the images, allowing artists and viewers to break through all physical boundaries, cross over fictive borders, the imaginary ‘lines in the sand’ separate truth from illusion. The graffiti reminded viewers that what was once ever-present had disappeared and gone. The handmade paper used in this exhibition brings to life those portraits while the gaze and stare of each face confronts the viewer, questioning reality. The series of portraits displayed here together in a row, simulates for the viewer the experience of that dramatic moment of history on Mohamed Mahmoud Street. Graffiti became a weapon and an echo of the past as it memorialized the people who died and the place of their sacrifice. This exhibition attempts to connect this historical moment to the present, as people continue to fight for their rights and for a genuine Egyptian democracy.    
 It is the first mark you make and it is the only mark you can express anything with. Line is used beyond art and it is one of the most basic representations of life. The continuity and the rhythm of the lines reflects memories and glimpses of the past that I relate to. Although in Islamic art the line was used  geometrically and the differences were very distinctive in the way the line was used, the art that was produced reflected the rich and varied cultures of Islamic societies. Therefore, through my work I am trying to revolutionize the way the line is created and used, transforming it from a very traditional, conventional and a geometric shape that acts solely in a certain space to a more contemporary and modern factor that acts according to the elements surrounding it. I am experimenting with the unlimited options the line give me and the use of the line with different surfaces, backgrounds, materials, and its relationship within shapes.