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Weaving the Land Back خيوط العودة, by Palestinian textile artist Areen Hassan, has been awarded the Public Award by the Institut du Monde Arabe (Arab World Institute), Paris.

Commissioned by 1971 – Design Space, Sharjah, UAE, the work was presented as part of the exhibition Sila : All That Is Left to You, held at Maraya Art Centre, Sharjah, UAE, in 2025.

The embroidery layer was created in collaboration with the women of Inaash.

The exhibition was curated by Cima Azzam and Noor Suhail, and founded by Rula Alami.

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My piece ‘Study of a Cypress Tree’ is currently on view until June 21 in Madrid part of Al’Qala at the @realfabricatapices .

The piece is an ode to one of the most enduring motifs in Palestinian tatreez: the cypress tree, a symbol of resilience, steadfastness, and hope. Across the piece, the tree moves through stages of abstraction, gradually shifting form while retaining its presence, much like inherited memory, carried and transformed across generations.

Within Al’Qala, the work enters into dialogue with historical Palestinian garments and contemporary reinterpretations of tatreez. The exhibition traces Palestinian embroidery as both archive and living practice.

‘Study of a Cypress Tree’ was created in collaboration with @inaashassociation who support craftswomen in Palestinian refugee camps in Lebanon. Part of the ongoing @thesilaproject by @kiyanart

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From the opening of Sila, Al’Qala at the @realfabricatapices

Her Hands, Her Land is installed on an 18th-century loom, the same loom once used to weave royal tapestries for the Royal Palace of Madrid.

A tool once used to serve power and monarchy now holds stories of land, labor, and survival. Placed within this structure, the work brings together two traditions of making; Palestinian embroidery and Spanish tapestry. Threads shift in meaning, moving between ornament and testimony, between craft and continuity.

The loom becomes a meeting point, where practices, separated by time and geography, come into relation. Embroidery appears not only as heritage, but as presence: held, repeated, and carried forward, where threads carry memory across time, and histories are not only preserved, but continuously reworked and reasserted.

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Inspired by the interior of the Church of the Holy Sepulchre, this piece is hand-embroidered with precision, where each stitch becomes an act of memory and reverence.

Threads are layered to echo architecture, light, and sacred geometry, translating place into form through the language of craftsmanship.

Held between presence and absence, it reflects on the Church of the Holy Sepulchre as a space where access may be interrupted, yet presence endures.

Through craft, memory is held, and what cannot be returned to is not lost.

#zaidfarouki #zaidfaroukicreates

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Church of the Holy Sepulchre closed to the world for the first time, its silence breaking centuries of history and faith.

#zaidfarouki #zaidfaroukicreates

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Honoured to be part of Al’Qala: Threads of History — presenting looks from Im Mortal Magenta: the colour that doesn’t exist

From 10 April to 7 June 2026, the Royal Tapestry Factory @realfabricatapices in Madrid becomes a space where threads carry memory, identity, and resistance. Al’Qala: Threads of History unfolds as a living showcase of Palestinian tatreez, moving across time, craft, and contemporary expression.

A Legacy in Threads — historical garments and textiles tracing identity through generations.

A Nation in Stitches — monumental works by Inaash artisans, mapping Palestinian regions through embroidery.

A Heritage in Motion — where tradition meets the present, and artists reimagine tatreez through new forms

To contribute my work to this dialogue — where past and present are stitched together — is deeply meaningful.

@kiyanart @thesilaproject 🩷🤍🩷
Special thanks to @cacciatorel4 💖
Royal Tapestry Factory, Tatreez Palestinian embroidery
Al’Qala: Threads of History Cultural Heritage

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Honoured to be part of Al’Qala: Threads of History — presenting looks from Im Mortal Magenta: the colour that doesn’t exist

From 10 April to 7 June 2026, the Royal Tapestry Factory @realfabricatapices in Madrid becomes a space where threads carry memory, identity, and resistance. Al’Qala: Threads of History unfolds as a living showcase of Palestinian tatreez, moving across time, craft, and contemporary expression.

A Legacy in Threads — historical garments and textiles tracing identity through generations.

A Nation in Stitches — monumental works by Inaash artisans, mapping Palestinian regions through embroidery.

A Heritage in Motion — where tradition meets the present, and artists reimagine tatreez through new forms

To contribute my work to this dialogue — where past and present are stitched together — is deeply meaningful.

@kiyanart @thesilaproject 🩷🤍🩷

Royal Tapestry Factory, Tatreez Palestinian embroidery
Al’Qala: Threads of History Cultural Heritage

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Honoured to be part of Al’Qala: Threads of History — presenting looks from Im Mortal Magenta: the colour that doesn’t exist

From 10 April to 7 June 2026, the Royal Tapestry Factory @realfabricatapices in Madrid becomes a space where threads carry memory, identity, and resistance. Al’Qala: Threads of History unfolds as a living showcase of Palestinian tatreez, moving across time, craft, and contemporary expression.

A Legacy in Threads — historical garments and textiles tracing identity through generations.

A Nation in Stitches — monumental works by Inaash artisans, mapping Palestinian regions through embroidery.

A Heritage in Motion — where tradition meets the present, and artists reimagine tatreez through new forms

To contribute my work to this dialogue — where past and present are stitched together — is deeply meaningful.

@kiyanart @thesilaproject 🩷🤍🩷

Royal Tapestry Factory, Tatreez Palestinian embroidery
Al’Qala: Threads of History Cultural Heritage

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Through the vision of Rula Alami, Founder of the SILA project, Inaash embroidery continues to cross borders and generations.

At Al’Qala: Threads of History in Madrid, the installation A Nation in Stitches stands as a living testament to a heritage that refuses to stand still، evolving, connecting, and finding new meaning with every audience it reaches.

من خلال رؤية رولا العلمي، مؤسسة مشروع SILA، يواصل تطريز إنعاش عبور الحدود والأجيال.

في معرض Al’Qala: Threads of History في مدريد، يشكّل عمل A Nation in Stitches شهادة حيّة على تراث لا يتوقف، يتجدّد، ويتواصل، ويجد معاني جديدة مع كل جمهور يصل إليه.

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#realfabricadetapices#rulaalami #galeriejaninerubeizbeirut

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I began this embroidery at the beginning of the year, with hope of finding balance as a mother and artist in Trump’s America. The piece came with me to Kuwait, where days into my visit, Trump struck our neighbor Iran. Explosions and implosions, nauseating rollercoaster rides of proclamations and promises, the double speak of “peace talks” and “ceasefires”. Lives and homes lost to this vanity project of constant war. I pray for them. For all our aching hearts. This work evolved to encompass these trying times.

Divine Balance is a tatreez mandala radiating outward from the Islamic invocation هو الله — He is God — through Palestinian embroidery motifs of the cypress, olive branch, amulet, and scales. The composition moves in two directions at once: outward in concentric circles, and upward through the cypress’s vertical reach, long an image in Palestinian visual culture of rootedness and the soul’s longing toward the divine. Its deepest preoccupation is balance — not as stasis, but as the dynamic tension between opposing forces that Taoist philosophy calls the nature of all things: darkness and light, stillness and movement, the earthly and the transcendent, held rather than resolved. The names of God woven within it — يا خافض يارافع — O Lowerer, O Exalter — يا باسط يارافع — O Expander, O Contractor — are themselves a cosmology of equilibrium: four names that move in pairs, each one gaining meaning in relation to its opposite. Shown in Madrid, on the land of Al-Andalus where Islamic geometric art once flourished, the work arrives not as artifact but as active petition — for justice, for witness, for a world that still knows how to hold things in balance.

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