Fedaa Boqaileh is credited as a Palestinian illustrator/artist Her work appears in a published literary context featuring Palestinian poetry The publication context is tied to writing responding to the ongoing war on Gaza (2023– ) Her Instagram identity is @juthur1948, explicitly referencing: “Juthur” = roots 1948 = Nakba historical rupture

A key aspect of Fedaa Boqaileh’s practice is that it is not encountered through a conventional exhibition timeline, but through publication-based circulation. One of the clearest documented instances of her work appears within a literary publication featuring Palestinian poetry written in response to the ongoing war on Gaza (2023–present). In this context, the artwork is not detached from its moment of publication; rather, it is embedded within a specific historical and political present.

This matters because the work does not enter visibility as part of a retrospective or institutional survey, but as part of an active and unfolding cultural response to violence. The temporal condition of the publication—the fact that it is produced during an ongoing war—shapes how the image functions. It is not archival in a completed sense; it is contemporaneous, responding to a present that is still structurally unresolved.

Within this framework, Boqaileh’s illustrations operate in relation to text that is itself situated in the same historical moment. The pairing of image and poetry creates a shared temporality: both forms are responding to lived conditions of displacement, loss, and fragmentation as they are unfolding rather than after they have been historicised.

The reference embedded in her digital identity—“Juthur 1948”—extends this temporal structure. It links the immediate present of wartime publication to a longer historical rupture: the Nakba of 1948. Read together, these two temporal anchors (1948 and 2023–present) do not form a linear narrative, but a layered one. The work exists in a double time: historical displacement and contemporary recurrence.

Importantly, this does not function as illustration of political events in a documentary sense. Instead, the work participates in the broader field of Palestinian cultural production in which image-making is often contemporaneous with crisis itself. The publication context is therefore not incidental metadata; it is part of the meaning structure through which the work is accessed.