Rabbia Sukkarieh was born in Lebanon to a philanthropist family, got married at a young age, and moved to Beirut amid the fifteen-year war. Despite the horrors, she completed her BFA with honors from the Lebanese Fine Arts Institute while caring for her two sons. Unfortunately, the war cost her ex his job, and fearing for her children's future and well-being, she arranged for a loan that allowed her to migrate to the United States to continue her studies.

After learning English to speak it better, she enrolled at the Pasadena Art Center in 1986 while working as a nanny, a housekeeper, and other similar jobs. Rabbia completed her second undergraduate degree before receiving her extended MFA with honors, which awarded her a special "Art Citizenship." Finally, she could bring her sons to study and live in Los Angeles.

Her earlier works included public performances during the wartime in Lebanon, considered the first of its kind, a Berkeley University art historian is writing about them for the Art Journal. Later, while taking on commercial jobs to support her living, she continued creating socio-political performances and installations such as SCHEHERAZADE, a 101 mixed-media pieces installation that talks about survival in defiance of human and environmental destruction, depicted and interwoven through art history. Another installation was DARK LIGHT, a 115 12”x12" piece installation examining the balance amidst turbulent dualities.

For more recent work, Rabbia mentions: "From 2008 to 2019, my work shifted to exploring global and cosmic topics, exploring how our thoughts and actions can become the trinity, the eye of the hurricane where all micro- and macro-cosmic forces intertwine to influence all. One loving person can help their surroundings, and a group with united intentions can help the world. From 2020 to 2023, while healing from two injuries, I created several drawings that reflect the quantum world, which are also a prelude to mixed-media works and room-size installations. I have also started a project involving a short documentary while working with underprivileged women.

White Hole Sculpture

WHITE HOLE, 2018-2019, Wood, Wire and Wool, 114 x 172 x 84 Inches.

My sculpture addresses fundamental aspects of the human experience. The use of wool recalls the heartwarming feeling of my grandmother's rug making. I weave a few hairs at a time, to engulf the organic form with comforting softness and seductive sensuality that deeply contrasts with its dark, threatening presence and monumentality.