In this series, Qinza Najm explores the garden as a complex terrain—part sanctuary, part threshold. Rendered in oil on stainless steel and shaped industrial forms, each work reflects an evolving inquiry into how we construct and inhabit spaces of belonging, memory, and interior refuge.

Using processes of cutting, layering, etching, and painting, Najm creates surfaces that oscillate between the organic and the constructed. Floral fragments, geometric enclosures, and void-like passages invite viewers into spaces that are neither fully open nor entirely closed. The reflective quality of the metal implicates the viewer—positioning them within the frame of access, or just beyond it.

Rather than presenting the garden as a fixed symbol of peace, Najm frames it as a shifting site—at once a place of potential solace and of quiet estrangement. These works ask: What kinds of spaces do we carry within us? Which do we build or long for across time, memory, and migration?

Through restraint and formal clarity, (In)Accessible Gardens proposes the garden not as an answer, but as a question—of where, and how, we allow ourselves to belong.