Installation is my primary medium, enabling me to construct immersive environments that engage women’s histories, cultural memory, and lived experience. Drawing on printmaking, fabric architecture, and storytelling, I create spaces where pattern and text form supportive visual fields for portraiture. These installations pursue gender justice by re‑centering women’s voices and approaching tradition not as fixed inheritance but as a living, adaptive framework shaped by our evolving needs.
Walk‑through, dome‑topped screen‑printed textile pavilion with embroidered‑like calligraphy and geometric panels in vibrant blue, cream, and yellow; installed in a gallery
Living Threads, installation, 2025. 16 × 11.5 × 12.5 ft. Screenprinted canvas structure inspired by the Dome of the Rock, honoring a Palestinian American woman; walk‑through interior.
Two life‑size figures in a gallery installation before hexagonal, Islamic‑inspired patterned panels: a woman kneeling in a bright blue robe and yellow headscarf, and a man draped in beige and pink
Contain Me, installation, 2024. 42 × 13 × 9 ft. Painting on cutout wood with an octagonal halo, against screen‑printed canvas with Islamic motifs; Khadijah receives Muhammad after revelation.
Life‑size painted figure seated cross‑legged in yellow and red with a red headscarf, writing with a red quill before a colorful screen‑printed canvas of geometric and floral patterns, repeated figures, and Arabic calligraphy
The Scribe, installation, 2022. 17 × 10 ft. Painting on cutout wood and screen‑printed fabric. St. Kate Gallery.
Walk‑in dome‑topped textile pavilion; foliage draped from the interior wall; low table holds a coffee set; prayer rug on the floor; gallery installation
Morning of Damasus, installation, 2025. 8 × 10 × 10 ft. Minneapolis Institute of Art.
Layered blue archways form a tunnel leading to a central painted canvas of a seated yellow‑clad figure holding a child; gallery installation
Blue Roots, installation, 2025. 8 × 12 × 12 ft. Minneapolis Institute of Art.
Pink fabric archway with gold decorative motifs supported by four columns; inside a painted young girl in a teal dress holds a book and backpack; pink prayer rug on the floor; gallery setting
My Pink House, installation, 2025. 8 x 8 x 10 ft. Minneapolis Institute of Art.
Translucent red organza panels screen‑printed with repeating Arabesque motifs, hung to form an Andalusian arch; light filters through the fabric, casting patterned shadows across the gallery wall and floor
The Sinsiter Poem, installation, 2016. 10 × 10 × 10 ft. St. Kate Gallery.
Side view of a black fabric facade forming an entry arch; arch surface decorated with gold screen‑printed motifs; installation shown in gallery space.
The Great Mother of Islam, 2014. 16 x 16 x 12 ft. St. Kate Gallery.
White translucent fabric screen‑printed with white ink forms an enclosed structure; viewers enter through an opening to move through three consecutive octagonal chambers
Queen of Heaven, installation, 2013. Catherine Nash Gallery.
Labyrinth installation made of vertically hanging hennaed sheets of translucent paper; layered panels form winding passageways within a gallery spaceShadow Sisters, installation, 2013. 16 × 20 × 12 ft. The Phipps Center for the Arts.







Facade of Habiba’s Chamber installation showing the green, screenprinted exterior walls at Prince Faisal Bin Fahad Art Hall
Habiba’s Chamber, installation, 2012. 8 × 8 × 10 ft. Prince Faisal Bin Fahad Art Hall.
Facade of the installation with pink and gold arches and geometric wall patterns; evokes Islamic architectural forms and an intimate spiritual atmosphere
Fatimah in America 3, installation, 2011. 20 x 22 x 9 ft. Northcutt-Steele Gallery, Montana State U.

Exterior view of an installation with red and yellow patterned walls and a circular doorway leading to a blue‑and‑silver chamber
Fatimah in America 2, installation, 2007. Hillstrom Museum of Art.
Exterior view of Fatimah in America 1 installation: cylindrical columns wrapped in red and yellow fabric support arches adorned with purple and yellow cutouts; central circular structure with star motif evokes sacred geometry and cultural symbolism
Fatimah in America 1, installation, 2005. University of St. Thomas Library.
Painting of a seated woman in a blue dress and headscarf reading from an open book; a bowl of fruit and a tall jug sit beside her; behind her rises a large metal‑screen arch topped with gold Arabic calligraphy
The Three Faces of Mary, 2004. Mixed media. 10 × 16 ft. Jan D’Art Auditorium, St. Kate University.

Child opens the entry door of an installation; behind them, a corridor made of burlap, black fabric, and canvas screen‑printed with henna leads into the dimly lit interior
Autobiography, installation, 2002. Minneapolis College of Art and Design.
Sculptural book cover featuring a golden face and hands cast in Muslim prayer position, shrouded in black Saudi women’s garment; set against a textured brown field with a white rectangular backdrop
Autobiography of a Human Body, book installation, 2000. 8 × 5 ft 3 in (open). Minneapolis College of Art and Design
Square henna‑printed textile held down by four stones at the corners and a fifth stone at the center; each stone bears transferred Qur’anic script, and four female figures radiate outward in a cross‑shaped composition
The Five Pillars, installation, 2003. Henna screen‑printed canvas and stone. Minneapolis College of Art and Design.
Member of Rosalux Gallery, Minneapolis
Member of Interfaith Artists Circle
Alumni member of A.I.R. Gallery, New York