After graduating from the College of Fine Arts, I sought to convey myself more freely. As a young woman dissatisfied with my living conditions and society's attitude towards women, I aimed to express my frustration with the injustices of life and people. Ignoring all academic rules and regulations, I focused solely on expressing what was in my heart.

There is a shelter in different cities of the Kurdistan region that protects women threatened by their families. In 2018, I asked the shelter's administration for permission to stay with the women living there. I wanted to learn more about their suffering and collaborate with them on a series of paintings that might help heal some of their wounds. Unfortunately, I was not granted permission. A year later, I decided to create the paintings myself. In this series, I tried to convey the pain these women experienced.

These paintings explore the feelings and identity of women, particularly Kurdish women. They are called "My Mother's Hewrî," named after the traditional dress worn by Kurdish women. The inspiration for these paintings came from my desire to honor my mother, who has always supported and encouraged me to be myself and pursue my passion. Like much of my earlier work, these paintings focus on women and their reflections on self and life. I chose Hewrî as the central theme because it is deeply connected to the lives of my mother and most Kurdish women. Many of my childhood memories feature my mother wearing this dress. After a few years, her dress became worn, and she wanted to discard it, but I saved it and incorporated it into my figures in the paintings. In my view, anything that remains with someone for a long time becomes part of that person, carrying a piece of their soul and existence. It witnesses both the good and bad moments, sharing in their feelings throughout the time it is with them. When I look at these paintings, I imagine the emotions and experiences my mother had while wearing this dress.

My works attempt to depict my personal experiences, and at this stage, I am focused on examining my identity and personality. I believe they are existential, as this approach emphasizes self-analysis and self-knowledge within a complex and often inscrutable worldview. In these works , the main themes include fear, anxiety, alienation, inheritance, the meaninglessness of life, the emptiness within human existence, and the individual's position in the world.

After the death of Zhina Amini at the hands of the Islamic Republic, my work was profoundly influenced by this tragic event. Women's freedom has become a more prominent theme in my art. The protests and their aftermath inspired me to create paintings that reflect the situation and the ongoing struggle for women's rights.

The pain of transitioning from a fantastical childhood world to the chaotic world of adulthood had always made me doubt bringing an innocent human being into existence. Nevertheless, I made the selfish decision to experience the pure joy and love of motherhood. With the birth of my son, the old me died and was reborn the moment I held my child for the first time. Since then, a fragile part of me has felt separated from my former self. Self-reflective questions about my identity as an independent person and as a mother have deepened. Did I make the right decision? How will he face life? What if he blames me for bringing him into this world? These thoughts dominate every second of my life, leading me to believe that expressing them through art might help me cope with the ambivalent feelings of being a new parent.