Leather holds still. It carries weight, memory and a history that remains present beneath the surface. My work begins in the quiet of the studio, where time slows and each mark matters.

​

I use surgical blades to etch the surface, revealing the pale knap beneath and shaping the hide to create subtle relief. Some incisions cut deep. Others lift just enough to catch the light. As the shadows move, the image shifts. What appears depends on where you stand, when you look and how long you choose to stay.

​

The process is exacting. It is slow, physical and unforgiving. Over time I have learned to feel the difference between a sharp blade and one beginning to dull. I have learned the cost of distraction. My hands carry scars from the work. They are not symbolic. They are part of it.

​

Skin to Skin, my most recent piece, was created over five years and more than 1,500 hours. It brings together the handprints of individuals from across the United Arab Emirates. I combined their lines and creases to form a single composite palm, a portrait of many lives drawn into one. The final mark was made using my newborn daughter’s hand. That moment gave the piece its name.

​

My work is grounded in physicality, time and human connection. It documents touch as something lasting. A record of presence, shaped slowly and made to be felt as much as seen.​