Manna's practice resists categorisation, embracing ambiguity, irony, and vulnerability as tools of critique. Rather than offering didactic statements, her works unfold slowly-foregrounding the complexity of lived experience and the layered textures of cultural mutation and survival. In both content and form, she constructs spaces where memory, fiction, and political urgency coexist.
Her installation Your Time Passes And Mine Has No Ends includes handcrafted banner-flags embroidered with quotations from contemporary Palestinian political prisoners, such as Walid Daqqa and Khaleda Jarrar, hoisted between metal balcony-like structures. The banners' compositions and colors draw on the history of the mawasim—traditional festive mass celebrations performed through prayer, song, and dance held across the Arab world, and historically in Palestine, where such communal assemblies were ruptured by the Nakba.
Grounded in the close study of colonial archival documents and literary accounts of the mawasim, Manna revives the historical banner as a communal and liberatory practice, superimposing it with the present-day writings of Palestinian political prisoners that refuse the silencing and fracturing aims of their jailers.
Your Time Passes And Mine Has No Ends, attends to the radical spirit of defiance in Palestinian joy. Through the gesture of activating both collective and intimate practices—each carrying within them modes of resilience against erasure-Manna inscribes the experience of isolation onto the collective body, linking carceral confinement to public memory.
