Farwa Moledina’s work resists in by throwing a strategy – a visual maze —through symmetry, repetition, and the intimate language of domestic pattern. 

 In Myths We Inherit, Moledina’s pieces feel like carefully layered acts of declaring delebrate boundries. Not Your Harem Girl, Not Your Fantasy, Ramadan, and Maryam form a counter-archive—gently dismantling colonial gazes and reclaiming the right to name, to narrate, to imagine anew. Where Orientalist painters once layered silks and skin to eroticize Muslim women, Moledina weaves geometry and absence—inviting us to look again, and then, to look deeper. 

 These works do not fill the space with bodies—they create a maze, they become sanctuaries, guarded to who is allowed the access to. 

 The embroidered scripts, the echoes of architectural symmetry, the silhouettes that seem familiar and yet unnamed—all work together to unwrite the myth of the “exotic” woman. 

They not only refuse the gaze. They return it. 

 In Maryam, the artist reshapes a figure often viewed only through the lens of Christian iconography. Here, she reclaims  

Mary as Maryam—restoring her place in Muslim visual culture, and with it, the nuances of a lineage often erased. 

 This is a declaration of ownership . It is meticulously quiet, patterned. It is a reclamation stitched into textiles, etched into frames, hidden in ornamental logic. And it is deeply feminine. In its radical patterns, Moledina’s work reminds us that what is decorative can also be defiant. 

 To inherit, in her practice, is to resist beautifully. 

To remember is to redraw. 

And to be seen, finally, on your own terms, is myth-breaking.