In the House of Light

Lana Khayat’s stitched works began quietly, almost as an afterthought. Around six years ago, she started experimenting with silk threads, many of them sourced from Spain, drawn to their delicate sheen and softness. What began as a quiet exploration soon became a central language in her practice. In these pieces, light is not simply something observed. It becomes an element that moves through the surface, casting shadows across each stitch, illuminating what is both visible and hidden. The thread does not dominate. It hums gently beneath layers of paint, catching light in fragments, holding memory in place. There is a tension between permanence and fragility in these works. The act of stitching, repetitive and intimate, becomes a kind of devotion. The light becomes a companion to the thread, revealing and concealing in equal measure.

These works are not only made. They are tended to. Held within the house of light.

Lana Khayat’s relationship with nature has always been intimate, quiet, and deeply felt. It was through observing the subtle rhythms of petals, roots, and shifting light that she was first drawn to the gesture of stitching. Thread became a way to mirror the delicate structures found in the natural world — a way to hold fragility, repetition, and resilience in her hands. What began as an experiment with silk soon evolved into a meditative practice, weaving memory and landscape into each surface.