My artistic practice is rooted in the intersection of feminism, materiality, and cultural memory,  drawing from my lived experiences as a woman from Bangladesh. Through the use of everyday  materials—sarees, burkhas, hand towels, and domestic objects—I explore how systemic forces  

shape narratives of femininity, labor, and identity. My work interrogates the gendered constraints  imposed by patriarchy, capitalism, and colonial legacies while reclaiming traditional crafts like  Nakshi Kantha embroidery as sites of resistance and dialogue. 

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Abstraction and layering are central to my process, allowing me to deconstruct and reinterpret  symbols such as the veil, the saree, and religious motifs. By disrupting their familiar forms, I  challenge binaries and invite viewers to confront the complexities of agency, tradition, and  oppression. For instance, a blade embedded in a saree or female genital embroidered onto a  burkha become metaphors for the duality of comfort and danger, visibility and erasure. These  juxtapositions reveal the hidden labor and emotional burdens of women, particularly those from  marginalized class and religious backgrounds. 

Influenced by theorists like Judith Butler, Bell Hooks, and Julia Kristeva, my work situates  feminism within Bangladesh's socio-political fabric. I examine how gender performativity,  intersectionality, and abjection manifest in cultural attire, domestic spaces, and spiritual  iconography. The tactile nature of fiber—stitched, torn, or layered—embodies histories of care  and struggle, transforming "women's work" into a radical artistic language. 

By merging traditional craft with contemporary critique, I aim to amplify subaltern narratives  and reimagine feminist futures—ones where materiality itself becomes a testament to resilience  and reclamation. 

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Ultimately, my art is a call to witness, question, and disrupt. It is a testament to the enduring.