During my year-long residency at the V&A as part of the Jameel Fellowship program, I explored the intersection of displacement, memory, and material culture through a methodical investigation of the museum's glass collection. As a Palestinian artist, I found myself deeply connected to the objects, many of which had been displaced, reflecting my own experiences. My research method began with a rational approach—organizing a list of 100 glass artifacts from the Middle East that I wanted to explore, categorizing them by type and origin. I focused on understanding how these objects arrived at the museum, who donated them, and the role colonial forces played in their displacement.

However, I soon realized that this structured method was limiting, so I shifted to a more immersive approach. Rather than gathering data, I began to engage intimately with a smaller selection of objects. This shift allowed me to connect more deeply with each piece, exploring its textures, history, and emotional resonance. For example, while investigating a glass pendant of the goddess Astarte, I uncovered its likely Palestinian origins, despite being labeled as Syrian in the museum’s records. This discovery prompted me to delve into the history of biblical and colonial archaeology, and the implications of such mislabeling in the context of Palestinian displacement.

My research also expanded beyond objects to architecture, particularly the use of glass in Ottoman windows. This research led to new works that blend glass, memory, and displacement, pushing my practice beyond its previous boundaries. Ultimately, my time at the V&A transformed my artistic process, shifting from broad historical research to a more personal and intimate exploration of the objects and their meanings.