These works resemble the cracks in the walls of his Beirut apartment following the 2024 earthquake in Turkey and northern Syria. As Hamid explained in his ARTEculations episode, they serve both as markers of collective experience and personal reckonings: "an attempt to make sure I am not going crazy." His practice has been deeply informed by witnessing traumatic events during his time in Ramallah and Beirut, observing the public's growing desensitisation to violent imagery in media.

Through traditional cross-stitch techniques, Hamid accomplishes dual objectives: preserving Palestinian craft heritage while creating subjective chronicles of contemporary crises, from the Syrian war to the Beirut port explosion. Each stitch becomes a measured act of resistance against erasure, embedding political consciousness into the rhythmic, meditative process of threadwork. The resulting works oscillate between abstraction and representation, inviting viewers to contemplate how personal and collective memories are woven together through time and material.