Indigenous Skin is a series that I created in 2016, marking a significant moment for my artistic journey. This ongoing series was born out of a deep response to the destruction of ancient Assyrian sites by ISIS (figure 1-3), a tragedy that echoed through the hearts of those who hold this heritage dear. By translating the patterns of shattered stone artworks into fabric, this series honored the resilience and survival of the Assyrian people, who have endured centuries of persecution. The transformation from the rigidity of stone to the flexibility of cloth symbolizes not just survival but an evolution—a way of keeping history alive in a form that moves, breathes, and lives with us. The initial design from this series was titled Lamassu Skin (figure 1 and 2, right). Although the series and its subsequent designs were set aside in favor of new projects, the concept and its significance have remained with me.

In creating “Indigenous Skin,” I became the first in our community to use the word “Indigenous” in a creative artistic context, offering a new lens through which to view our identity. The choice to adopt the term “Indigenous” was deliberate on my part. It was my way of stepping away from the concept of nationalism, which often confines identity within the borders of modern nation-states, and instead embracing a connection that transcends those boundaries.

The word “Indigenous” carries with it a profound sense of belonging to a place, a land, and a culture that predates modern conceptions of nationality. Nationality, in its contemporary understanding, is tied to the modern state system—a construct that emerged relatively recently in human history. It is often linked to citizenship, legal rights, and political allegiance to a specific country. While important in the context of governance and legal identity, nationality can also be limiting, especially when it is used to define or confine cultural identity.

In contrast, “Indigenous” speaks to an ancient and continuous connection to the land, culture, and heritage. It is not just about belonging to a modern nation-state but about being rooted in the very fabric of history, in traditions and practices that have been passed down through millennia. The word “Indigenous” acknowledges a deeper, more intrinsic connection to the earth and to the ancestors who walked upon it long before modern borders were drawn.

By using “Indigenous” to describe this series, I aimed to forge a connection between the Assyrian people and other ancient cultures, recognizing that our histories are intertwined and that our identities are built upon shared experiences of resilience and continuity. This perspective allows for a broader, more inclusive understanding of identity—one that honors our ancient heritage while also acknowledging the interconnectedness of all Indigenous cultures.

In this way, Indigenous Skin becomes more than just a series of artworks; it is a statement of identity that moves beyond the constraints of nationality. It is a celebration of the enduring spirit of the Assyrian people and a recognition of our place within the broader tapestry of human history. Through this series, the patterns of our shattered past are given new life, infused with movement and continuity as they are worn on the human body. This act of wearing our history is a powerful reminder that our culture is not just something to be preserved in museums or texts—it is a living, breathing part of who we are, continuing to evolve and thrive, even in the face of adversity. The purpose of my art is to disassemble Assyrian culture and reassemble it in new and profound ways, creating connections that honor our ancient heritage while exploring its relevance in the modern world.