Khadija's textile glitch art manipulates images and fibre materials using hand and digital means. Unlike traditional glitch art that requires no hand labour and craftsmanship, her process-based practice bridges the gap between textile-making techniques and collaboration with digital technologies. She creates unexpected surface outcomes by playing with hand and digital distortion methods that are guided by spontaneity and investigate errors of the human hand. These methods of surface design produce unique colours, shapes, and patterns that would be impossible without the collaboration between hand and machine.
Khadija's projects begin with a printed copy of her own paintings or digital photographs on paper or fabric. She then embellishes these prints using embroidery and beading techniques to introduce new colours and textures in the artwork. Then, she drags the decorated surfaces across a flatbed scanner following the scanner’s light to distort the image. The scanned image is reprinted onto fabric, on which she responds to the new colours and shapes created by the scanning process withmore embellishments. Then this new decorated surface undergoes another round of scanning. The outcome of such repetitive intentional play is a series of mixed-media textiles that reveal processes as memories of materials and the artist’s hand.