[{"data":1,"prerenderedAt":18681},["ShallowReactive",2],{"wordpressData":3},{"interviews":4,"programmes":18408,"pages":18586,"categories":18658,"settings":18672},[5,123,236,363,491,640,789,926,1023,1144,1290,1396,1561,1735,1860,2008,2155,2266,2395,2526,2618,2754,2879,3031,3191,3330,3504,3631,3767,3896,4043,4181,4272,4412,4547,4684,4809,4933,5092,5219,5369,5509,5628,5776,5933,6054,6188,6315,6481,6672,6788,6924,7041,7189,7287,7386,7519,7631,7750,7897,8005,8121,8248,8358,8466,8599,8707,8806,8939,9046,9142,9274,9392,9535,9637,9750,9868,9977,10133,10244,10362,10489,10598,10711,10825,10961,11083,11198,11315,11412,11543,11647,11764,11875,11982,12096,12225,12342,12475,12602,12694,12802,12925,13051,13170,13293,13401,13507,13628,13738,13865,14007,14127,14230,14372,14484,14620,14739,14871,14976,15091,15240,15368,15493,15618,15741,15883,15993,16116,16239,16338,16457,16589,16699,16831,16959,17073,17196,17303,17427,17549,17666,17804,17938,18050,18161,18286],{"_type":6,"_id":7,"slug":8,"name":9,"index":10,"date":11,"thumbnails":12,"description":25,"footerImage":26,"categories":31,"sections":36},"interview",154,"carina-hemmings","CARINA HEMMINGS",1,"2024-01-04",{"quote":13,"main":14,"secondary":23,"reverse":24},"\u003Cp>“I found a batch of pictures of plants and started the series \u003Cem>The botanicals\u003C\u002Fem> inspired by the poetic order of botanical families.”\u003C\u002Fp>\n",{"image":15,"background":21,"fit":22},{"_id":16,"url":17,"alt":18,"caption":18,"credit":18,"width":19,"height":20},164,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F013Cathleen_Colleen.webp","",800,980,"light","normal",{"image":24,"background":21,"fit":22},false,"\u003Cp>Carina Hemmings comes from a family of jewellers and has developed a deeply personal way of bridging this heritage with her background in Fine Arts and graphic design. Her practice combines anonymous vernacular photographs — real, unique, and found — with traditional techniques such as Tiffany stained glass, transforming them into wearable objects.\u003C\u002Fp>\n\u003Cp>Each piece is entirely one of a kind. Hemms works exclusively with original vintage photographs, carefully hand-framed and paired with vintage charms and found objects that add new layers of meaning and emotional weight. These compositions function as fragments of forgotten stories, recovered and reimagined through a poetic, intimate, and contemporary lens.\u003C\u002Fp>\n\u003Cp>Her brand, Carina Hemms, emerged from a desire to give analog photography a second life — transforming it into a precious and resonant object, ready to be carried and reinterpreted by whoever wears it.\u003C\u002Fp>\n",{"_id":27,"url":28,"alt":18,"caption":18,"credit":18,"width":29,"height":30},156,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-2a.jpg",1323,1622,[32],{"_id":33,"slug":34,"name":35},4,"designer","Designer",[37,46,58,63,74,79,85,90,99,104,110],{"questions":38,"_type":45},[39,42],{"question":40,"answer":41},"\u003Cp>Whats your name and where are you from?\u003C\u002Fp>\n","\u003Cp>My name is \u003Cem>Carina Hemmings\u003C\u002Fem> and I am half English, hamf spanish. I am based in Girona, Spain.\u003C\u002Fp>\n",{"question":43,"answer":44},"\u003Cp>What Do you Do?\u003C\u002Fp>\n","\u003Cp>Along with my partner, founded End Pictures, a collection of vintage vernacular photography; we frame these anonymous original prints, that are unique, to give them a second life.\u003C\u002Fp>\n","questions_section",{"images":47,"size":56,"_type":57},[48,51],{"_id":49,"url":50,"alt":18,"caption":18,"credit":18,"width":29,"height":30},161,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-6-1.jpeg",{"_id":52,"url":53,"alt":18,"caption":18,"credit":18,"width":54,"height":55},627,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6.jpg",805,1009,"small","single_image_section",{"questions":59,"_type":45},[60],{"question":61,"answer":62},"\u003Cp>What inspired you to start? Do you remember the first time you made contact with your domain?\u003C\u002Fp>\n","\u003Cp>I come from a family of jewellers, so I went a step further and decided to frame these original pictures with the Tiffany tecnique and turn them into a jewell. There will only be one of a kind.\u003C\u002Fp>\n",{"variant":64,"images":65,"_type":73},"a2",[66,70],{"_id":67,"url":68,"alt":18,"caption":18,"credit":18,"width":69,"height":30},176,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-5-2.jpg",2163,{"_id":71,"url":72,"alt":18,"caption":18,"credit":18,"width":54,"height":55},628,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3.jpg","two_images_section",{"questions":75,"_type":45},[76],{"question":77,"answer":78},"\u003Cp>Do you have any habits that get you in a creative mindset?\u003C\u002Fp>\n","\u003Cp>Habits that get me into a creative mood: Going through the collection of old pictures and categorizing them, trying to guess what was behind each scene, where and when was the photo taken …this gives me the drive to imagine and transform it into a piece of jewellery. I try to stay true to the essence of the picture itself. For instance, I found a batch of pictures of plants and started the series “The botanicals” inspired by the poetic order of botanical families.\u003C\u002Fp>\n\u003Cp>I also like surround myself with little objects that I cherish and are meaningful to me and I often incorporate them into the piece of jewellery, such as broken china with flowers, vintage charms, etc\u003C\u002Fp>\n\u003Cp>I also do some research of ancient pieces of jewellery such as the “lovers eyes” (time before photography, people were desperate to give each other not just images of themselves, but part\u003Ci> \u003C\u002Fi>of themselves, the portrait of the eyes of the lovers became popular…) I use photography to give them a new approach.\u003C\u002Fp>\n",{"images":80,"size":84,"_type":57},[81],{"_id":82,"url":83,"alt":18,"caption":18,"credit":18,"width":54,"height":55},629,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9.jpg","medium",{"questions":86,"_type":45},[87],{"question":88,"answer":89},"\u003Cp>If you could venture into any field at all, which would you choose?\u003C\u002Fp>\n","\u003Cp>If I could venture into a different field: I absolutely love cinema, it would be a dream to work in something related to it: from scriptwriting, photography, art direction… (although not acting!)\u003C\u002Fp>\n",{"image":91,"variant":94,"background":21,"secondImage":95,"_type":98},{"_id":92,"url":93,"alt":18,"caption":18,"credit":18,"width":54,"height":55},631,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7.jpg","a",{"_id":96,"url":97,"alt":18,"caption":18,"credit":18,"width":19,"height":20},171,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FNYMPHAEA_estuche_2.webp","image_on_background_section",{"questions":100,"_type":45},[101],{"question":102,"answer":103},"\u003Cp>What do you hope people feel or take away from looking or experiencing your work?\u003C\u002Fp>\n","\u003Cp>I think of my pieces as if they were amulets, small creations that have a hidden and magical meaning, which serve as inspiration and protection to whoever wears or contemplates them.\u003C\u002Fp>\n",{"images":105,"size":84,"_type":57},[106],{"_id":107,"url":108,"alt":18,"caption":18,"credit":18,"width":19,"height":109},174,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FQuinceeye_c15ea12f-5164-45a7-8668-2947fb27957f.webp",981,{"variant":94,"images":111,"questions":118,"_type":122},[112,115],{"_id":113,"url":114,"alt":18,"caption":18,"credit":18,"width":19,"height":20},167,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FGoodLuck.webp",{"_id":116,"url":117,"alt":18,"caption":18,"credit":18,"width":19,"height":109},175,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FTHEKEYTOMYHEART1.jpg",[119],{"question":120,"answer":121},"\u003Cp>Where can people reach you?\u003C\u002Fp>\n","\u003Cp>At the moment I can be reached by email, but very soon I will put the pieces in the website under carinahemms x end pictures.\u003C\u002Fp>\n","image_text_combo_section",{"_type":6,"_id":124,"slug":125,"name":126,"index":127,"date":128,"thumbnails":129,"description":18,"footerImage":140,"categories":144,"sections":148},105,"cinque","CINQUE",2,"2024-01-05",{"quote":130,"main":131,"secondary":138,"reverse":24},"\u003Cp>“My pieces embody feminine delicacy, yet carry an underlying sense of sharpness and strength.”\u003C\u002Fp>\n",{"image":132,"background":137,"fit":22},{"_id":133,"url":134,"alt":18,"caption":18,"credit":18,"width":135,"height":136},110,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-9a.jpeg",1560,1170,"dark",{"image":24,"background":21,"fit":139},"large",{"_id":141,"url":142,"alt":18,"caption":18,"credit":18,"width":143,"height":52},108,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-7a.jpg",477,[145],{"_id":127,"slug":146,"name":147},"artist","Artist",[149,167,175,186,194,207,218,226,231],{"variant":150,"images":151,"questions":157,"_type":122},"b",[152],{"_id":153,"url":154,"alt":18,"caption":18,"credit":18,"width":155,"height":156},249,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-5a.jpg",700,1050,[158,161,164],{"question":159,"answer":160},"\u003Cp>What’s your name and where are you from?\u003C\u002Fp>\n","\u003Cp>My name is Cindy. I was born in China and am currently based in London.\u003C\u002Fp>\n",{"question":162,"answer":163},"\u003Cp>What material do you primarily use?\u003C\u002Fp>\n","\u003Cp>I primarily work with wax and use a technique called lost wax casting to transform my wax pieces into silver.\u003C\u002Fp>\n",{"question":165,"answer":166},"\u003Cp>How would you describe what you do and the kind of pieces you create?\u003C\u002Fp>\n","\u003Cp>I create jewelry and objects, exploring the blurred boundaries between the two. My work exists in the space where adornment and function meet.\u003C\u002Fp>\n",{"questions":168,"_type":45},[169,172],{"question":170,"answer":171},"\u003Cp>What drew you to jewelry and objects, especially the idea of combining cutlery with adornment?\u003C\u002Fp>\n","\u003Cp>I entered the design world through architecture, where I learned to break boundaries and play with scale. Translating ideas across different forms has always been central to my practice. Cutlery and jewelry share the same materiality, and I’m drawn to the delicacy of both.\u003C\u002Fp>\n",{"question":173,"answer":174},"\u003Cp>Do you remember the first time you worked with silver? What made you want to keep going?\u003C\u002Fp>\n","\u003Cp>The first time I visited a casting studio, I was fascinated by the raw tactility of freshly cast silver before it’s cleaned and polished. The granularity, the transformation through casting, the repeated hand-sculpting of wax—I found joy in every step of the process.\u003C\u002Fp>\n",{"variant":176,"images":177,"_type":73},"a1",[178,181],{"_id":179,"url":180,"alt":18,"caption":18,"credit":18,"width":155,"height":156},111,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-4.jpeg",{"_id":182,"url":183,"alt":18,"caption":18,"credit":18,"width":184,"height":185},112,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-2.jpeg",400,600,{"questions":187,"_type":45},[188,191],{"question":189,"answer":190},"\u003Cp>What inspires your designs—visually, emotionally, or symbolically?\u003C\u002Fp>\n","\u003Cp>When designing, I let my fingers take charge of the sculpting process, following my intuition and present mood. I try to silence my rational, perfectionist side—too much control can be a trap in the creative process.\u003C\u002Fp>\n",{"question":192,"answer":193},"\u003Cp>How do you balance form and function in your work?\u003C\u002Fp>\n","\u003Cp>I was trained as an architect, so I used to follow the principle of “form follows function.” However, I now try to quiet that rationality and allow the form to emerge organically. My hands act before my mind, but an awareness of function is always embedded in my approach.\u003C\u002Fp>\n",{"first":195,"second":198,"third":201,"variant":94,"_type":206},{"_id":196,"url":197,"alt":18,"caption":18,"credit":18,"width":155,"height":156},117,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-8.jpeg",{"_id":199,"url":200,"alt":18,"caption":18,"credit":18,"width":155,"height":156},114,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-3.jpeg",{"_id":202,"url":203,"alt":18,"caption":18,"credit":18,"width":204,"height":205},116,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-6.jpeg",500,750,"three_images_section",{"questions":208,"_type":45},[209,212,215],{"question":210,"answer":211},"\u003Cp>Has your vision or style evolved over time? How has your work changed since you started?\u003C\u002Fp>\n","\u003Cp>I’m currently collaborating with a 3D-printed accessory brand whose work is on the opposite end of the design spectrum. This contrast has given me a fresh perspective on my own practice and has strengthened both of our work in unexpected ways.\u003C\u002Fp>\n",{"question":213,"answer":214},"\u003Cp>Is there a particular piece you’ve made that carries a personal story or meaning?\u003C\u002Fp>\n","\u003Cp>A ring I call the ‘Bouquet Ring.’ It preserves my memories of the botanics I’ve grown over the years as I moved from place to place.\u003C\u002Fp>\n",{"question":216,"answer":217},"\u003Cp>How do you want your pieces to live in the world—on a shelf, on a body, passed down?\u003C\u002Fp>\n","\u003Cp>For now, I want my pieces to engage with skin—or with the second skin of the body, clothing. But eventually, I see them being passed down, with their hallmarks recording the story of their maker and the time they were created.\u003C\u002Fp>\n",{"image":219,"variant":222,"background":21,"secondImage":223,"_type":98},{"_id":220,"url":221,"alt":18,"caption":18,"credit":18,"width":155,"height":156},113,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-1.jpeg","b2",{"_id":224,"url":225,"alt":18,"caption":18,"credit":18,"width":155,"height":156},106,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage.jpeg",{"questions":227,"_type":45},[228],{"question":229,"answer":230},"\u003Cp>What do you hope people feel or experience when wearing or using your work?\u003C\u002Fp>\n","\u003Cp>My pieces embody feminine delicacy, yet carry an underlying sense of sharpness and strength. In my ‘Metal Veil’ project, I transform delicate lace textiles into silver cutleries, revealing both the hidden strength of metal and the way a fork or knife can empower a fragile lace-like piece.\u003C\u002Fp>\n",{"images":232,"size":56,"_type":57},[233],{"_id":234,"url":235,"alt":18,"caption":18,"credit":18,"width":155,"height":156},186,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-8-1.jpeg",{"_type":6,"_id":237,"slug":238,"name":239,"index":240,"date":241,"thumbnails":242,"description":251,"footerImage":252,"categories":257,"sections":262},250,"yugie-kartaatmaja","Yugie Kartaatmaja",3,"2025-03-26",{"quote":243,"main":244,"secondary":250,"reverse":24},"\u003Cp>“I feel a bit lost—lost as a person. That’s what led me to create the Anima series …”\u003C\u002Fp>\n",{"image":245,"background":21,"fit":56},{"_id":246,"url":247,"alt":18,"caption":18,"credit":18,"width":248,"height":249},235,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FHome-001.jpg",540,604,{"image":24,"background":21,"fit":22},"\u003Cp>Yugie Kartaatmaja is an artist and educator whose practice explores human interaction, social behavior, and their connection to mental health. His practice focuses on the relationships formed between himself and the audience, between the audience and the work, and between individuals encountering the work together. By allowing viewers to activate and shape the experience, Yugie transforms art into a conduit for social connection—believing that without participation, the work remains incomplete. Currently working on his 3rd Cawan Berbisik Project.\u003C\u002Fp>\n",{"_id":253,"url":254,"alt":18,"caption":18,"credit":18,"width":255,"height":256},253,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FScreenshot-2026-01-27-at-10.37.16a.jpg",1000,1501,[258],{"_id":259,"slug":260,"name":261},7,"ceramics","Ceramics",[263,268,273,280,285,290,296,301,306,311,316,321,326,337,342,347,358],{"questions":264,"_type":45},[265],{"question":266,"answer":267},"\u003Cp>What’s your name and where do you call home right now?\u003C\u002Fp>\n","\u003Cp>My name is Yugie Kartaatmaja, I’m currently living in Bali for work but will be moving to Jakarta in July.\u003C\u002Fp>\n",{"questions":269,"_type":45},[270],{"question":271,"answer":272},"\u003Cp>How would you describe your work in a few words? Has it always been this way?\u003C\u002Fp>\n","\u003Cp>My work is about creating a connection—between myself and the audience, between the audience and the work, or even between two strangers who may not know the artwork at all. It’s meant to be a space, physical or digital, where a social experience happens, triggered by the people who choose to engage with it. Their participation is what brings the work to life—without it, I don’t see the piece as complete.\u003C\u002Fp>\n\u003Cp>It wasn’t always like this. In the beginning, like most artists, my work was more personal—just about me expressing myself. Now, it’s more about asking how my work can create an impact or spark something in others.\u003C\u002Fp>\n",{"images":274,"size":139,"_type":57},[275],{"_id":276,"url":277,"alt":18,"caption":18,"credit":18,"width":278,"height":279},586,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8.jpg",1795,1011,{"questions":281,"_type":45},[282],{"question":283,"answer":284},"\u003Cp>How did your path with clay begin, and when did education\u002Fmentorship enter the picture?\u003C\u002Fp>\n","\u003Cp>It started back in college—I chose ceramics mostly because not many people did. I wanted to learn a skill that felt a bit more rare, something not everyone had. In 2016, I got a freelance job as a drawing teacher at a commercial learning center. Eventually, they expanded into pottery, and I ended up managing that part. That’s where I really discovered my love for teaching, especially teaching pottery.\u003C\u002Fp>\n",{"questions":286,"_type":45},[287],{"question":288,"answer":289},"\u003Cp>How does your role as an educator influence your studio practice, and vice versa?\u003C\u002Fp>\n","\u003Cp>Being an educator really keeps me connected to the basics of making and reminds me why I started working with clay in the first place. Teaching forces me to slow down, explain my process, and look at things from different perspectives, which often leads me to new ideas or ways of working in my own studio. At the same time, my studio practice helps me stay grounded as a maker. It gives me real experiences—failures, experiments, small discoveries—that I can share with my students. Both roles feed into each other, and together they keep me learning, growing, and staying curious.\u003C\u002Fp>\n",{"images":291,"size":84,"_type":57},[292],{"_id":293,"url":294,"alt":18,"caption":18,"credit":18,"width":255,"height":295},590,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-9.jpeg",900,{"questions":297,"_type":45},[298],{"question":299,"answer":300},"\u003Cp>What kinds of ideas, stories, or questions are you exploring through your work right now?\u003C\u002Fp>\n","\u003Cp>I’m still trying to figure out how my work Cawan Berbisik can create a direct impact on the audience. But honestly, with everything happening in my life right now, I’ve been more focused on reconnecting with myself. I feel a bit lost—lost as a person. That’s what led me to create the Anima series, as a way to search for a deeper understanding of my soul through animal and imaginative characters. Lately, it feels like an ongoing existential crisis—constantly questioning the meaning behind what I’m doing. That’s where Mundane Normality comes in, a reminder to slow down, be grateful, and not take the little things for granted. I guess I need to really get to know myself first before I can expect my work to help anyone else.\u003C\u002Fp>\n",{"questions":302,"_type":45},[303],{"question":304,"answer":305},"\u003Cp>What are some unexpected things you’ve learned from your students or collaborators?\u003C\u002Fp>\n","\u003Cp>With my students, I try to understand the meaning behind each creation before I explain it and let them make their own. Through that process, I find myself connecting to perspectives I probably wouldn’t discover on my own. It’s the same when I work with collaborators—there’s something exciting about trying to be on the same wavelength with someone else, creating not just for myself but for and with others. It adds a whole new layer to the work that I really enjoy.\u003C\u002Fp>\n",{"images":307,"size":139,"_type":57},[308],{"_id":309,"url":310,"alt":18,"caption":18,"credit":18,"width":255,"height":255},591,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-1-3.jpeg",{"questions":312,"_type":45},[313],{"question":314,"answer":315},"\u003Cp>Are there any textures, shapes, or symbols you return to often in your pieces?\u003C\u002Fp>\n","\u003Cp>I don’t really stick to specific textures, shapes, or symbols, but visually, my work is often inspired by the natural color of clay itself—it has this warmth and honesty that I really like. I’m also influenced by visuals from the likes of Neil Gaiman’s and Jean-Michel Basquiat’s work, especially the rawness and expressive energy they bring. And honestly, sometimes my students—especially the kids—inspire me the most. The way they see their own creations, so unfiltered and free, often reminds me to loosen up and see things from a different perspective.\u003C\u002Fp>\n",{"questions":317,"_type":45},[318],{"question":319,"answer":320},"\u003Cp>Can you share a piece that holds a memory, lesson, or turning point in your journey?\u003C\u002Fp>\n","\u003Cp>The first Cawan Berbisik project was exhibited twice in 2019. Honestly, I wasn’t confident at first that the work would have the kind of impact I hoped for. And when the pandemic hit, I started to doubt it even more—I felt like maybe this project just wouldn’t work the way I imagined. But in April 2020, I received an email from someone who had participated in the project. She shared that she and her brother reconnected and managed to resolve their communication issues. Her last words in the email stayed with me: “The presence of Cawan Berbisik opened a deep conversation between us. Thank you for echoing the essential matters through this. God bless you and the works you have created”. That moment really kept me going. It reminded me that this is what art should do—help people, even in the smallest way, and make life a little better. I believe that’s the role of an artist in society.\u003C\u002Fp>\n",{"questions":322,"_type":45},[323],{"question":324,"answer":325},"\u003Cp>What are you trying to offer people—whether they hold your work in their hands or learn from you?\u003C\u002Fp>\n","\u003Cp>What I’m really trying to offer is a space—whether through my work or when I’m teaching—for people to connect with themselves and with others. I want my work to be more than just something they see or hold; I hope it becomes a tool or a moment that helps them reflect, feel, or even start a conversation they’ve been avoiding. For me, it’s about creating experiences that remind people of their own emotions, thoughts, and connections—something we often forget in our daily routines. This is what I am also doing for myself, in hope that we (myself, my audience and other people) can help each other.\u003C\u002Fp>\n",{"variant":64,"images":327,"_type":73},[328,333],{"_id":329,"url":330,"alt":18,"caption":18,"credit":18,"width":331,"height":332},594,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F98.jpg",605,340,{"_id":334,"url":335,"alt":18,"caption":18,"credit":18,"width":336,"height":332},595,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F54.jpg",285,{"questions":338,"_type":45},[339],{"question":340,"answer":341},"\u003Cp>Do you have any personal rituals or habits that help you stay grounded or inspired outside of your practice?\u003C\u002Fp>\n","\u003Cp>In my journey with Cawan Berbisik, I’ve had the chance to talk to people who are dealing with mental health issues. Those conversations have really helped me reflect and understand myself better. It made me see a deeper meaning in what I’m doing and reminded me why I started this work in the first place. Hearing their stories keeps me grounded and inspires me to continue creating something that might connect with others on that level.\u003C\u002Fp>\n",{"questions":343,"_type":45},[344],{"question":345,"answer":346},"\u003Cp>Who or what has deeply influenced your practice—formally or informally?\u003C\u002Fp>\n","\u003Cp>Cawan Berbisik was deeply influenced by my mother. She used to hide things from me, especially about her health, because she didn’t want me to worry. 6 years ago, she had a stroke that left her unable to speak clearly—only whispers and fragments of thoughts I could barely catch. She passed away last year, in September 2024. The hardest part is that, because of her condition, she never really knew about my work. But in a way, Cawan Berbisik became my way of processing that—everything I couldn’t say to her and everything she couldn’t say to me. She was selfless, always helping others.\u003C\u002Fp>\n",{"variant":64,"images":348,"_type":73},[349,354],{"_id":350,"url":351,"alt":18,"caption":18,"credit":18,"width":352,"height":353},589,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUntitled-2.jpg",1141,1090,{"_id":355,"url":356,"alt":18,"caption":18,"credit":18,"width":357,"height":357},588,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-1.png",1500,{"questions":359,"_type":45},[360],{"question":361,"answer":362},"\u003Cp>Where can people see your work, connect with you, or learn from you?\u003C\u002Fp>\n","\u003Cp>my website at www.yugiekartaatmaja.com anything you want to know about me is there.\u003C\u002Fp>\n",{"_type":6,"_id":364,"slug":365,"name":366,"index":33,"date":367,"thumbnails":368,"description":382,"footerImage":383,"categories":386,"sections":388},254,"kaso-caso","KASO CASO","2025-03-27",{"quote":369,"main":370,"secondary":376,"reverse":24},"\u003Cp>“The color blue also appears a lot in certain eras of my life, usually when I’m unwell.”\u003C\u002Fp>\n",{"image":371,"background":21,"fit":22},{"_id":372,"url":373,"alt":18,"caption":18,"credit":18,"width":374,"height":375},257,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-13b.jpg",1178,1253,{"image":377,"background":137,"fit":139},{"_id":378,"url":379,"alt":18,"caption":18,"credit":18,"width":380,"height":381},259,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-2a-1.jpg",983,1357,"\u003Cp>There is definitely a certain level of restriction stylistically when it comes to working with clients, as a majority of musicians do have some kind of vision in mind for the art they would like to see attached to their own personal work, so more care is taken towards getting that vision right while still maintaining my own style.\u003C\u002Fp>\n",{"_id":384,"url":385,"alt":18,"caption":18,"credit":18,"width":374,"height":375},256,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-13a.jpg",[387],{"_id":127,"slug":146,"name":147},[389,392,397,402,412,417,422,427,432,438,443,448,453,458,463,467,472,476,481,486],{"images":390,"size":84,"_type":57},[391],{"_id":378,"url":379,"alt":18,"caption":18,"credit":18,"width":380,"height":381},{"questions":393,"_type":45},[394],{"question":395,"answer":396},"\u003Cp>Whats your name and where are you based?\u003C\u002Fp>\n","\u003Cp>My Name is Nsama Wisdom Chishimba, and I practice under the artist name kasocaso in Cape Town, South Africa.\u003C\u002Fp>\n",{"questions":398,"_type":45},[399],{"question":400,"answer":401},"\u003Cp>Can you tell us a bit about your creative practice and how it’s evolved over time?\u003C\u002Fp>\n","\u003Cp>Yeah of course, so i’ve always been involved in the arts, as my father is a practicing architect and my mother has always been into crafts. Their constant encouragement has informed my current practice, as I have a love for structure in a rather unconventional manner, which I’d attribute to them both. This has led me to experiment with all kinds of media on different surfaces and styles, and has allowed my mind to stay open to new ideas and materials,\u003C\u002Fp>\n",{"variant":176,"images":403,"_type":73},[404,408],{"_id":405,"url":406,"alt":18,"caption":18,"credit":18,"width":407,"height":279},598,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F123456.jpg",759,{"_id":409,"url":410,"alt":18,"caption":18,"credit":18,"width":407,"height":411},599,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F989.jpg",369,{"questions":413,"_type":45},[414],{"question":415,"answer":416},"\u003Cp>What draws you to mixed media? what does combining materials or surfaces allow you to explore that traditional formats don’t?\u003C\u002Fp>\n","\u003Cp>It’s mainly the sheer amount of textures one can get from mixing different media and the rush of switching between mediums to create one, cohesive piece, feels like no other format of creation. The non-linear nature of mixing said media on alternative flat surfaces also lends itself to how I think, as I am neurodivergent and think in images  and color quite often.\u003C\u002Fp>\n",{"questions":418,"_type":45},[419],{"question":420,"answer":421},"\u003Cp>What kind of stories or atmospheres are you drawn to when you create?\u003C\u002Fp>\n","\u003Cp>I’m intrigued by the magic of the mundane, and how one can create or inject incredibly abstracted ideas of a moment into a painting, while still capturing its essence, especially in figure painting.\u003C\u002Fp>\n",{"images":423,"size":84,"_type":57},[424],{"_id":185,"url":425,"alt":18,"caption":18,"credit":18,"width":407,"height":426},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F89.jpg",569,{"questions":428,"_type":45},[429],{"question":430,"answer":431},"\u003Cp>Are there any recurring characters, textures, or colors that keep showing up in your work?\u003C\u002Fp>\n","\u003Cp>Definitely, in my comic book work, I’d say myself and my partner. My partner also appears frequently in my paintings, as I am quite enamoured by her presence, and how it translates into different mediums and surfaces. The color blue also appears a lot in certain eras of my life, usually when I’m unwell.\u003C\u002Fp>\n",{"images":433,"size":84,"_type":57},[434],{"_id":435,"url":436,"alt":18,"caption":18,"credit":18,"width":407,"height":437},602,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F932.jpg",1095,{"questions":439,"_type":45},[440],{"question":441,"answer":442},"\u003Cp>How does your approach shift when you’re creating for musicians versus making personal work?\u003C\u002Fp>\n","\u003Cp>There is definitely a certain level of restriction stylistically when it comes to working with clients, as a majority of musicians do have some kind of vision in mind for the art they would like to see attached to their own personal work, so more care is taken towards getting that vision right while still maintaining my own style. With my personal work, restrictions become self-imposed, and the “rules” more so become guidelines for whatever it is that I am attempting to achieve visually, which can be more freeing at times.\u003C\u002Fp>\n",{"images":444,"size":56,"_type":57},[445],{"_id":446,"url":447,"alt":18,"caption":18,"credit":18,"width":407,"height":426},603,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F54333.jpg",{"questions":449,"_type":45},[450],{"question":451,"answer":452},"\u003Cp>What song\u002FAlbum would you love to create a cover for?\u003C\u002Fp>\n","\u003Cp>Nights by Frank Ocean is the first one that comes to mind, if not that then Burning Desire by MIKE\u003C\u002Fp>\n",{"questions":454,"_type":45},[455],{"question":456,"answer":457},"\u003Cp>Is there a surface or material you’ve experimented with recently that surprised you?\u003C\u002Fp>\n","\u003Cp>Yes actually, the texture that can be found in cheap chinese canvases and ink markers is absurdly satisfying, quite unexpected.\u003C\u002Fp>\n",{"questions":459,"_type":45},[460],{"question":461,"answer":462},"\u003Cp>How does your environment influence what or how you create?\u003C\u002Fp>\n","\u003Cp>It informs everything as far as I understand, I’m constantly pulling from my environment, from materials or references, to certain moods\u002Fattitudes and levels of drive\u002Fcommitment. My current working environment has been incredibly motivating, as I’m constantly surrounded by extremely talented artists\u003C\u002Fp>\n",{"images":464,"size":56,"_type":57},[465],{"_id":249,"url":466,"alt":18,"caption":18,"credit":18,"width":407,"height":437},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F123.jpg",{"questions":468,"_type":45},[469],{"question":470,"answer":471},"\u003Cp>Can you tell us about your experience preparing for Comic Con, what kinds of products are you working on, and how do they connect to your style or identity?\u003C\u002Fp>\n","\u003Cp>It’s been really informative, enjoyable and just overall inspiring, I’ve been learning a lot about product design in a very hands-on way. We’re creating four items with the workshop, A T-shirt, A Poster, A Tote Bag and A Baseball Cap. For my designs, I wanted to create a world of characters that pulls from what art inspired as a kid as well as my heritage and as those closest to me. In doing so, I’ve combined multiple African symbols, Cultural wear & street wear with the anime\u002Fcomic book styles of the East & West that I grew up absorbing in my youth (and am still obsessed with to this day!).\u003C\u002Fp>\n",{"images":473,"size":56,"_type":57},[474],{"_id":331,"url":475,"alt":18,"caption":18,"credit":18,"width":407,"height":437},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F32.jpg",{"questions":477,"_type":45},[478],{"question":479,"answer":480},"\u003Cp>What’s a project that pushed you outside your comfort zone, in a good way?\u003C\u002Fp>\n","\u003Cp>This current Workshop! I used to hate Adobe Illustrator, but the second week had us really experimenting in the software, and it’s grown on me quite a bit.\u003C\u002Fp>\n",{"questions":482,"_type":45},[483],{"question":484,"answer":485},"\u003Cp>What keeps you creatively curious or motivated right now?\u003C\u002Fp>\n","\u003Cp>My Faith, My Family and Friends, Comics and the blessing of getting to wake up everyday and make things.\u003C\u002Fp>\n",{"questions":487,"_type":45},[488],{"question":489,"answer":490},"\u003Cp>Where can people find your work, or catch you next?\u003C\u002Fp>\n","\u003Cp>You can find me @kasocaso on Instagram! And I’ll be at Comic-Con Africa 2025! I’ll be speaking on an Artist Panel on the first and third day so do come by and ask some questions!\u003C\u002Fp>\n",{"_type":6,"_id":492,"slug":493,"name":494,"index":495,"date":496,"thumbnails":497,"description":512,"footerImage":513,"categories":516,"sections":518},261,"mugak","Mugak",5,"2025-03-29",{"quote":498,"main":499,"secondary":505,"reverse":24},"\u003Cp>“I believe the heart connects with the hands, and I think creating is one of the most profound acts we can perform.”\u003C\u002Fp>\n",{"image":500,"background":137,"fit":56},{"_id":501,"url":502,"alt":18,"caption":18,"credit":18,"width":503,"height":504},262,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FWhatsApp-Image-2024-05-31-at-5.24.59-PM.jpeg",1600,1066,{"image":506,"background":21,"fit":511},{"_id":507,"url":508,"alt":18,"caption":18,"credit":18,"width":509,"height":510},263,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F65E2168E-CF8A-4CD5-82B0-FA7EDA07DC82_1_105_ca.jpg",1086,724,"full","\u003Cp>Test\u003C\u002Fp>\n",{"_id":514,"url":515,"alt":18,"caption":18,"credit":18,"width":510,"height":509},264,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F07496E19-3023-442B-B8ED-56221EB9707B_1_105_c.jpeg",[517],{"_id":127,"slug":146,"name":147},[519,524,535,540,545,550,555,560,570,575,580,585,590,597,602,607,612,617,622,630,635],{"questions":520,"_type":45},[521],{"question":522,"answer":523},"\u003Cp>What’s your name and where are you from\u002Fbased?\u003C\u002Fp>\n","\u003Cp>Hi, my name is Juan Pablo Lascurain. I’m a Mexican artist based in Mexico City. I studied architecture, so I love playing with proportion, aesthetics, and materials. I work with paper and cardboard. I like to find beauty in the everyday and give special meaning to things that might not seem special at first.\u003C\u002Fp>\n",{"first":525,"second":529,"third":532,"variant":94,"_type":206},{"_id":526,"url":527,"alt":18,"caption":18,"credit":18,"width":528,"height":503},607,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FWhatsApp-Image-2024-05-31-at-5.24.28-PM.jpeg",1280,{"_id":530,"url":531,"alt":18,"caption":18,"credit":18,"width":528,"height":503},608,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FWhatsApp-Image-2024-05-31-at-5.24.31-PM-1.jpeg",{"_id":533,"url":534,"alt":18,"caption":18,"credit":18,"width":504,"height":503},609,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FWhatsApp-Image-2024-05-31-at-5.24.31-PM-2.jpeg",{"questions":536,"_type":45},[537],{"question":538,"answer":539},"\u003Cp>How did piñatas first become a source of inspiration for your work, and what draws you to their form or symbolism?\u003C\u002Fp>\n","\u003Cp>Piñatas are a living element of Mexican culture. This culture of celebration and sharing can actually be a ritual. And in terms of plasticity, they are highly shapeable and accessible ways to express ideas through form and color. Historically, piñatas represented sin and were used as an evangelizing tool, but over the centuries, they have remained with us—at every celebration, at every birthday. Their technique is so accessible, ephemeral, yet powerful and ever-present.\u003C\u002Fp>\n",{"questions":541,"_type":45},[542],{"question":543,"answer":544},"\u003Cp>Are there childhood memories, cultural traditions, or personal stories that influence how you work with these forms?\u003C\u002Fp>\n","\u003Cp>Of course! They are all present in my work. When I was born, my parents owned a stationery store, so I grew up surrounded by paper. Naturally, every birthday party I attended, every piñata I broke, became part of my memories. Later, when I went to architecture school, I learned how to work with cardboard—how to cut it, glue it—because 3D models were made with this material. That’s when I realized I had a deep connection with the material.\u003C\u002Fp>\n",{"images":546,"size":84,"_type":57},[547],{"_id":548,"url":549,"alt":18,"caption":18,"credit":18,"width":510,"height":509},619,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6E2A60CF-F201-41BB-9638-B3DF84929B6A_1_105_c.jpeg",{"questions":551,"_type":45},[552],{"question":553,"answer":554},"\u003Cp>Your pieces feel monumental and celebratory. What do you hope people feel when they encounter them?\u003C\u002Fp>\n","\u003Cp>I always aim for people to interpret my work freely—whatever they feel when they see it is valid. I see my work as an aesthetic exploration, and that’s what I invite people to do when they contemplate my pieces: to explore those places within their minds and hearts.\u003C\u002Fp>\n",{"questions":556,"_type":45},[557],{"question":558,"answer":559},"\u003Cp>What does your creative process look like, from idea to final form? Do you sketch, build, test, or gather as you go?\u003C\u002Fp>\n","\u003Cp>I always carry a sketchbook with me, where I draw what I feel and sometimes what I see. I fill it up gradually—I have moments when I don’t draw at all and moments when I can’t stop drawing. Later, when I have a commission or need to create a physical piece, I return to my sketchbooks, searching for inspiration or a drawing that works for the project. I then digitize and scale it to the required proportion before starting the construction of the piece. After that, the construction process depends a lot on each individual piece.\u003C\u002Fp>\n",{"variant":64,"images":561,"_type":73},[562,565],{"_id":563,"url":564,"alt":18,"caption":18,"credit":18,"width":510,"height":509},612,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1E00EA86-0E26-429C-99A9-D36A75A9DD4E_1_105_c.jpeg",{"_id":566,"url":567,"alt":18,"caption":18,"credit":18,"width":568,"height":569},613,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F51E60976-947C-4300-A93E-FE667F262F5E_1_105_c.jpeg",768,1024,{"images":571,"size":139,"_type":57},[572],{"_id":573,"url":574,"alt":18,"caption":18,"credit":18,"width":503,"height":504},611,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FWhatsApp-Image-2024-05-31-at-5.24.31-PM-3.jpeg",{"questions":576,"_type":45},[577],{"question":578,"answer":579},"\u003Cp>Do you collect materials or textures that later find their way into your pieces? How does materiality influence your decisions?\u003C\u002Fp>\n","\u003Cp>Paper and cardboard are the main materials in my work. They are my starting point, though sometimes I mix them with pastes, sand, or paint. But paper always remains the primary material.\u003C\u002Fp>\n",{"questions":581,"_type":45},[582],{"question":583,"answer":584},"\u003Cp>How do you approach color in your work? Is it driven by feeling, symbolism, or both?\u003C\u002Fp>\n","\u003Cp>Mostly by intuition. I like to think that I have to “listen” to the pieces to know what color they want to be. I also draw inspiration from the colors I see in architecture, markets, books, pictures, other artists’ works, or anywhere I find a combination that attracts me.\u003C\u002Fp>\n",{"questions":586,"_type":45},[587],{"question":588,"answer":589},"\u003Cp>How do your environments shape your creations?\u003C\u002Fp>\n","\u003Cp>I believe I’m directly influenced by what I see in the streets, towns, and cities—my culture, its people, their ways of communicating, expressing themselves, sharing, and celebrating. I draw inspiration from my country’s culture, and I strive to reflect that in my work. I feed off my surroundings, absorb them, and naturally, they reflect in my pieces.\u003C\u002Fp>\n",{"images":591,"size":84,"_type":57},[592],{"_id":593,"url":594,"alt":18,"caption":18,"credit":18,"width":595,"height":596},617,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12.jpg",823,1243,{"questions":598,"_type":45},[599],{"question":600,"answer":601},"\u003Cp>What is your relationship with craft? How do you balance the act of making with the deeper meanings behind your work?\u003C\u002Fp>\n","\u003Cp>A significant part of my work is that I make most of it myself, with my own hands. I think about the layers and layers of paper accumulating to form a piece, and I reflect on how the world itself is made of layers—rocks, our bodies, mountains. I believe the heart connects with the hands, and I think creating is one of the most profound acts we can perform.\u003C\u002Fp>\n",{"questions":603,"_type":45},[604],{"question":605,"answer":606},"\u003Cp>Do you ever imagine your pieces as characters or performers within a space?\u003C\u002Fp>\n","\u003Cp>I always think about how my work interacts with the space it inhabits, how it dialogues with other artworks or elements within its surroundings. I believe the pieces become part of the scene.\u003C\u002Fp>\n",{"images":608,"size":84,"_type":57},[609],{"_id":610,"url":611,"alt":18,"caption":18,"credit":18,"width":595,"height":596},620,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F21.jpg",{"questions":613,"_type":45},[614],{"question":615,"answer":616},"\u003Cp>Does music influence your process, either while building or in how you imagine your pieces existing in the world?\u003C\u002Fp>\n","\u003Cp>Yes, though not necessarily just music. I think everything I perceive—what I see, hear, touch, and feel—somehow influences my work.\u003C\u002Fp>\n",{"questions":618,"_type":45},[619],{"question":620,"answer":621},"\u003Cp>Have any of your works taught you something unexpected about your own history, process, or audience?\u003C\u002Fp>\n","\u003Cp>Absolutely! I’m constantly learning—from letting go and accepting that not everything has to be as I first envisioned it, to realizing how far a piñata has taken me and where it might lead me next. Another great learning experience has been understanding and feeling within the frame of what I don’t like. What we like is easy to understand and digest, but what happens with what we don’t like, what we don’t understand? That is where I usually start searching, and I think it takes me to deeper and unexpected places.\u003C\u002Fp>\n",{"variant":176,"images":623,"_type":73},[624,627],{"_id":625,"url":626,"alt":18,"caption":18,"credit":18,"width":595,"height":596},621,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F41.jpg",{"_id":628,"url":629,"alt":18,"caption":18,"credit":18,"width":510,"height":509},622,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FBDE9D678-0327-4040-9032-0DD4C9B77E89_1_105_c.jpeg",{"questions":631,"_type":45},[632],{"question":633,"answer":634},"\u003Cp>Do you ever imagine your pieces being touched, broken, or “used” like real piñatas?\u003C\u002Fp>\n","\u003Cp>I would love to break my piñatas! I think a piñata that isn’t broken is like a candle that’s never lit. But the truth is, no one has ever broken them—yet. I would love to experiment with that. Breaking a piñata is highly performative and, most of all, fun! What does make me happy, though, is seeing my pieces in real celebrations—anniversaries, weddings, birthdays. Even if they aren’t broken, they fulfill their role of accompanying, celebrating, decorating, and sweetening the eye.\u003C\u002Fp>\n",{"questions":636,"_type":45},[637],{"question":638,"answer":639},"\u003Cp>Where can people find you?\u003C\u002Fp>\n","\u003Cp>My work is available at several galleries in Mexico City, such as Mooni, Bombotti, and Chic by Accident. People can also reach out to me through my Instagram profile.\u003C\u002Fp>\n",{"_type":6,"_id":641,"slug":642,"name":643,"index":644,"date":645,"thumbnails":646,"description":658,"footerImage":659,"categories":663,"sections":665},265,"erik-lijzenga","Erik Lijzenga",6,"2025-03-31",{"quote":647,"main":648,"secondary":654,"reverse":24},"\u003Cp>“I like to embrace the chaos of coincidence. The initial few beads rolled into my life by coincidence, the rest of the collection did the same…”\u003C\u002Fp>\n",{"image":649,"background":21,"fit":511},{"_id":650,"url":651,"alt":18,"caption":18,"credit":18,"width":652,"height":653},269,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FErikLijzenga_redbeadv.jpg",1800,1200,{"image":655,"background":137,"fit":22},{"_id":656,"url":657,"alt":18,"caption":18,"credit":18,"width":653,"height":295},270,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2023-12-19-10.41.33b.jpg","\u003Cp>Testing Footer\u003C\u002Fp>\n",{"_id":660,"url":661,"alt":18,"caption":18,"credit":18,"width":407,"height":662},647,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4.jpg",1104,[664],{"_id":127,"slug":146,"name":147},[666,671,676,682,687,693,698,704,709,714,720,725,730,738,743,748,754,759,764,769,774,779,784],{"questions":667,"_type":45},[668],{"question":669,"answer":670},"\u003Cp>Can you start by telling us a bit about you, your name, where you are based?\u003C\u002Fp>\n","\u003Cp>I’m Erik Lijzenga, based in Arnhem, the Netherlands. To develop my practice I’ve studied a BA in Product Design at ArtEZ in Arnhem and following that I finished an MA in Gemstones and Jewellery in Germany last year.\u003C\u002Fp>\n",{"questions":672,"_type":45},[673],{"question":674,"answer":675},"\u003Cp>Can you tell us a bit about your practice,  and what led you to working with objects?\u003C\u002Fp>\n","\u003Cp>My BA made me reconsider how I see the objects, shapes, materials in our habitat. So much is already right there in front of us, this led me to use existing objects like furniture or picture frames as my material.\u003C\u002Fp>\n\u003Cp>I wanted to further explore the jewellery field which prompted me to study in Idar-Oberstein, Germany. This is where I gained more insight in my own practice and had the opportunity to explore the jewellery field, a universe where material value is subjective and craft is embraced.\u003C\u002Fp>\n\u003Cp>After moving back to Arnhem I’ve set up a workshop where I can do my wood and stone carving and silversmithing. It’s also the place where I can work with and organise my archive.\u003C\u002Fp>\n",{"images":677,"size":56,"_type":57},[678],{"_id":679,"url":680,"alt":18,"caption":18,"credit":18,"width":407,"height":681},638,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2.jpg",551,{"questions":683,"_type":45},[684],{"question":685,"answer":686},"\u003Cp>Do you remember the first object you ever collected or kept just because it spoke to you?\u003C\u002Fp>\n","\u003Cp>It was by some strange coincidence, but the first thing I consciously collected were 3 old glass beads I found outside of the academy for my BA during my first week. We were working on a project about beads, so their appearance was very appropriate. From that moment on I would collect some things here and there; lighters, strange souvenirs, unidentifiable parts.\u003C\u002Fp>\n\u003Cp>But in the last year of my BA my fascination with beads was unleashed, started by those initial 3 beads. While researching beads I discovered a beautifully complex object with a rich history. From then on I’ve been gathering beads which lead to a growing archive of more than 4700 individual pieces.\u003C\u002Fp>\n",{"images":688,"size":84,"_type":57},[689],{"_id":690,"url":691,"alt":18,"caption":18,"credit":18,"width":407,"height":692},639,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-1.jpg",506,{"questions":694,"_type":45},[695],{"question":696,"answer":697},"\u003Cp>How did your collecting evolve over time? What kind of objects tend to catch your eye now?\u003C\u002Fp>\n","\u003Cp>I like to embrace the chaos of coincidence. The initial few beads rolled into my life by coincidence, the rest of the collection did the same. I have a routine of visiting thrift shops in my neighborhood. And in doing so I always come across surprising, strange, ugly and beautiful things.\u003C\u002Fp>\n\u003Cp>I’m most intrigued by objects that carry clear signs of handwork or a maker, or signs of the previous owner, traces on its surface that show how it was treated. I’m still surprised by the strange, unfamiliar and wacky things you can come across, even with all my experience visiting these shops.\u003C\u002Fp>\n\u003Cp>Most of my finds happen on the street though, broken parts, lost objects… So many things can be found lying in the gutter, while they still have so much potential.\u003C\u002Fp>\n",{"images":699,"size":84,"_type":57},[700],{"_id":701,"url":702,"alt":18,"caption":18,"credit":18,"width":407,"height":703},640,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10.jpg",1157,{"questions":705,"_type":45},[706],{"question":707,"answer":708},"\u003Cp>What draws you to certain materials or textures? Is it the shape, the story, or something else?\u003C\u002Fp>\n","\u003Cp>Most importantly is the possibility to connect to a story or a memory, like recognising something from my youth, relating something to another object.\u003C\u002Fp>\n\u003Cp>The biggest part of my collection is plastic, but that is mostly because it is such a present material. We produce so many disposable plastic products and their often bright colours stand out against the pavement. Over the course of 3 years I’ve found more than 300 lighters.\u003C\u002Fp>\n",{"questions":710,"_type":45},[711],{"question":712,"answer":713},"\u003Cp>What does your collecting process look like? are you searching, wandering, waiting?\u003C\u002Fp>\n","\u003Cp>There’s a strange sense of coincidence when it comes to finding things. I don’t go out searching for them, they just catch my eye, when walking to the supermarket, biking to my workshop. Sometimes it feels as if they’re coming to me, as if they want to be found. But I also notice that it is like a skill or a muscle that I’ve trained over time. This means I’ve always got something rustling around in my pocket.\u003C\u002Fp>\n",{"images":715,"size":84,"_type":57},[716],{"_id":717,"url":718,"alt":18,"caption":18,"credit":18,"width":407,"height":719},643,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-1.jpg",1012,{"questions":721,"_type":45},[722],{"question":723,"answer":724},"\u003Cp>Can you talk about the moment you decided to start replicating found objects? what shifted for you?\u003C\u002Fp>\n","\u003Cp>For the longest time I was resistant to the idea of making new things, that’s why my BA graduation collection was made of existing objects. During the MA I’ve tried a lot of different things to make my values and vision tangible. In the end I discovered that in order to share what I see in the objects I had to create a context in which they can be revalued. By combining the traditional way of stonecarving local to that region, my experience with woodworking and using my own skill and time to replicate these objects I could create a new type of object capable of containing my message.\u003C\u002Fp>\n",{"questions":726,"_type":45},[727],{"question":728,"answer":729},"\u003Cp>You replicate every detail of the original, including flaws, how do you balance preservation and transformation?\u003C\u002Fp>\n","\u003Cp>I try to stay as close to the original objects as I can, up to an arbitrary level. Making stencils, measuring twice, thrice… This intense focus allows me to understand the history and workings of the objects. The objects are often sketched, and from there I make schematics with measurements. And from there it’s all depending on my skill and my tools. Eventually I ran into the limitations of my skills and tools. The objects I’m recreating are very often made through industrial processes specific to those shapes and surfaces, the tools that I use have very different applications. I’m trying to replicate the ‘perfection’ of a mass produced object through an entirely different production process.\u003C\u002Fp>\n",{"variant":176,"images":731,"_type":73},[732,735],{"_id":733,"url":734,"alt":18,"caption":18,"credit":18,"width":407,"height":703},644,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11.jpg",{"_id":736,"url":737,"alt":18,"caption":18,"credit":18,"width":407,"height":719},645,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-1.jpg",{"questions":739,"_type":45},[740],{"question":741,"answer":742},"\u003Cp>Would you say your replicas are sculptures, records, jewelry, or something else entirely?\u003C\u002Fp>\n","\u003Cp>They are somehow a bit of everything, sculpture, record, jewellery. The carvings become something in between, no longer having their original function but still referring to it through their shape and scale. They become communicators. We have been conditioned by our environment to recognise the shape of an object and only think of its functionality. By changing the material and shedding its function the objects gain a new purpose.\u003C\u002Fp>\n",{"questions":744,"_type":45},[745],{"question":746,"answer":747},"\u003Cp>How do you balance technical precision with emotional or conceptual storytelling in your work?\u003C\u002Fp>\n","\u003Cp>It’s quite interesting to see where my skills plateau, at a certain point I can’t get closer to the original. This is frustrating but also an incredibly thrilling challenge. By working on the objects, going back and forth between the original and the carving I become a part of the story of these objects. I truly build a very close relationship with both, knowing all their imperfections, curves and details.\u003C\u002Fp>\n\u003Cp>And when it comes to the values and ideas I try to evoke with my work, I’ve noticed that the work is very good at speaking for itself. By choosing a specific but recognisable object it can immediately evoke a personal response in the viewer.\u003C\u002Fp>\n",{"images":749,"size":84,"_type":57},[750],{"_id":751,"url":752,"alt":18,"caption":18,"credit":18,"width":528,"height":753},648,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FErikLijzenga_lostandfound2.jpg",848,{"questions":755,"_type":45},[756],{"question":757,"answer":758},"\u003Cp>What kinds of conversations or connections emerge when different objects are combined into one piece?\u003C\u002Fp>\n","\u003Cp>Collage is another aspect of my practice. I’ve found so many objects that at some point they started to come together on their own. Some of these objects have such beautiful traces or innate associations that they aren’t really suitable for replicating.\u003C\u002Fp>\n\u003Cp>During a residency at Villa Bengel in Idar-Oberstein I had the opportunity to display and work with my entire collection. Seeing all the objects in the white cubes of the gallery space allowed them to create their own narratives, with me as a mediator. This allowed me to create brooches and jewellery pieces with a huge variety in materiality. It was very cathartic for me to give these scattered objects a new life in an entirely new context.\u003C\u002Fp>\n",{"questions":760,"_type":45},[761],{"question":762,"answer":763},"\u003Cp>Is there a particular piece that changed the way you think about your own practice or the world around you?\u003C\u002Fp>\n","\u003Cp>The most important piece might be a replica I made of a cast iron coathanger. I’d had it for over 12 years at the time, it was left on the wall in my first student room and has been in my peripheral ever since. It’s an ugly thing with bubbles in the iron, wobbly articulating arms and rough ornamentation. In working on the replica I got to know new things about this object even though it’s been around me for such a long time. The original is beautifully imperfect and capturing all those details in the wooden replica brooch was a great challenge and an homage to those beautiful faults.\u003C\u002Fp>\n",{"images":765,"size":84,"_type":57},[766],{"_id":767,"url":768,"alt":18,"caption":18,"credit":18,"width":407,"height":662},641,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-1.jpg",{"questions":770,"_type":45},[771],{"question":772,"answer":773},"\u003Cp>How do you organize or archive the objects and replicas you create? What does that process look like behind the scenes?\u003C\u002Fp>\n","\u003Cp>Archiving is a huge part of my work. The first thing that happens is a bath for all the objects, cleaning of dirt and sand, washing the necklaces I buy in thrift shops. Then the necklaces get taken apart and every unique bead gets put in my archive.\u003C\u002Fp>\n\u003Cp>Organising the rest of my archive is more tricky with many different categories of objects, materials, sizes and shapes. It’s an ongoing process of finding the right way to categorise and separate the pieces.\u003C\u002Fp>\n",{"images":775,"size":84,"_type":57},[776],{"_id":777,"url":778,"alt":18,"caption":18,"credit":18,"width":407,"height":662},649,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5.jpg",{"questions":780,"_type":45},[781],{"question":782,"answer":783},"\u003Cp>Outside of this, what keeps you going, or what would you like people to know about you?\u003C\u002Fp>\n","\u003Cp>My fascination with these objects is endless. There’re so many that I still want to explore and work with, to understand them, get closer to them. And my collection is still growing… I feel completely in my element when I’m in my workshop, so I’m happy to spend whatever time I have there.\u003C\u002Fp>\n",{"questions":785,"_type":45},[786],{"question":787,"answer":788},"\u003Cp>Where can people see your work or get in touch with you?\u003C\u002Fp>\n","\u003Cp>You can find me on my instagram page: @eriklijzenga and on my website: www.eriklijzenga.com\u003Cbr \u002F>\nI’m also featured in several galleries and collectives in the Netherlands, Belgium and Shanghai.\u003C\u002Fp>\n",{"_type":6,"_id":790,"slug":791,"name":792,"index":259,"date":793,"thumbnails":794,"description":806,"footerImage":807,"categories":810,"sections":812},271,"taller-batan","Taller Batan","2025-04-01",{"quote":795,"main":796,"secondary":802,"reverse":24},"\u003Cp>“I like to think of myself more as a collector of memories, techniques, and experiences rather than objects.”\u003C\u002Fp>\n",{"image":797,"background":21,"fit":22},{"_id":798,"url":799,"alt":18,"caption":18,"credit":18,"width":800,"height":801},274,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-7.png",1666,1249,{"image":803,"background":137,"fit":139},{"_id":804,"url":805,"alt":18,"caption":18,"credit":18,"width":255,"height":255},275,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-5aa.jpg","\u003Cp>testing\u003C\u002Fp>\n",{"_id":808,"url":809,"alt":18,"caption":18,"credit":18,"width":54,"height":55},666,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFooter.jpg",[811],{"_id":33,"slug":34,"name":35},[813,818,825,830,835,842,847,852,858,863,874,879,884,895,902,907,912,917,922],{"questions":814,"_type":45},[815],{"question":816,"answer":817},"\u003Cp>What’s your name, and where are you from\u002F based?\u003C\u002Fp>\n","\u003Cp>Sebastián Cappiello and my partner Marco Cordero. I was born in Venezuela, but we are based in Mexico City\u003C\u002Fp>\n",{"images":819,"size":84,"_type":57},[820],{"_id":821,"url":822,"alt":18,"caption":18,"credit":18,"width":823,"height":824},652,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-2.jpg",857,862,{"questions":826,"_type":45},[827],{"question":828,"answer":829},"\u003Cp>Can you tell us a bit about what you do and how Taller Batán came to be?\u003C\u002Fp>\n","\u003Cp>I like to call ourselves woodworkers or wood artists. We create sculptural furniture using reclaimed wood—that’s our main focus—but we’ve also built a Finnish sauna from scratch, worked on large-scale sculptures, and run a forest restoration program in the area where our workshop is located. Like many great things in life, Taller Batan was born out of friendship (we’ve been friends since high school) and opportunity. Neither of us had a background in woodworking at the time, but Marco invited me to visit the forest restoration program and showed me all the reclaimed wood that was going unused. We started with little knowledge but a lot of enthusiasm.\u003C\u002Fp>\n",{"questions":831,"_type":45},[832],{"question":833,"answer":834},"\u003Cp>Your bio says “bring the forest inside.” What does that phrase mean to you personally?\u003C\u002Fp>\n","\u003Cp>That’s a phrase by Zanine Caldas, a self-taught Brazilian designer, architect, and woodworker, that resonates with me. He’s a great inspiration. The phrase refers to Móveis Denúncia, a collection of wooden furniture he made in the 1970s from felled Amazonian trees, turning destruction into something meaningful.\u003C\u002Fp>\n",{"images":836,"size":84,"_type":57},[837],{"_id":838,"url":839,"alt":18,"caption":18,"credit":18,"width":840,"height":841},653,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FDSC07016.jpg",1029,1539,{"questions":843,"_type":45},[844],{"question":845,"answer":846},"\u003Cp>Have you always felt a connection to the forest, or did that relationship grow through your work with wood?\u003C\u002Fp>\n","\u003Cp>I was born in Caracas, a very tropical city. I literally lived 20 minutes away from a massive mountain that separates the city from the Caribbean Ocean. The city is lush, filled with parks and towering trees. But I have to admit, my appreciation for nature grew even stronger when I started working directly with wood. The more I learn, the more I want to explore.\u003C\u002Fp>\n",{"questions":848,"_type":45},[849],{"question":850,"answer":851},"\u003Cp>What qualities or characteristics draw you to the materials you choose?\u003C\u002Fp>\n","\u003Cp>I believe wood is an infinite material—arguably the most important material in human history. What truly interests me is finding new ways to express its inner qualities. Being such an ancient material makes this a challenge, but the idea of working directly with reclaimed logs feels more relevant than ever in a time when ecological consciousness is critical. We primarily use white cedar, an invasive species in the forest. This ties together our restoration program and Taller Batan.\u003C\u002Fp>\n",{"images":853,"size":84,"_type":57},[854],{"_id":855,"url":856,"alt":18,"caption":18,"credit":18,"width":357,"height":857},655,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F441444f4-ba5c-4117-80ce-0afb9176f1c1.jpg",2249,{"questions":859,"_type":45},[860],{"question":861,"answer":862},"\u003Cp>How do material and inspiration work together in your process?\u003C\u002Fp>\n","\u003Cp>I know it’s a common answer, but nature is an infinite source of inspiration. I believe beauty and design have a universal language, one that can be found in nature across the world.\u003C\u002Fp>\n",{"first":864,"second":868,"third":871,"variant":94,"_type":206},{"_id":865,"url":866,"alt":18,"caption":18,"credit":18,"width":867,"height":867},658,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-2.jpg",1071,{"_id":869,"url":870,"alt":18,"caption":18,"credit":18,"width":823,"height":824},660,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-2.jpg",{"_id":872,"url":873,"alt":18,"caption":18,"credit":18,"width":823,"height":824},659,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-1.jpg",{"questions":875,"_type":45},[876],{"question":877,"answer":878},"\u003Cp>If you had to work with a different material, which would it be?\u003C\u002Fp>\n","\u003Cp>It’s ironic, but I’m also very drawn to new technologies—things like 3D printing and automated robotics. We’ve also worked with stone, which feels essential to explore in Mexico. Our design language translates naturally to stonework.\u003C\u002Fp>\n",{"questions":880,"_type":45},[881],{"question":882,"answer":883},"\u003Cp>Do the objects you create reflect the kind of pieces you surround yourself with at home?\u003C\u002Fp>\n","\u003Cp>That’s a great question, but absolutely not! My home is mostly filled with midcentury design, which I really like and respect, but it’s definitely not what I’m trying to do. I’d love to build a wooden lodge or house filled with our pieces, but I think living with too much of your own work could feel suffocating.\u003C\u002Fp>\n",{"first":885,"second":889,"third":892,"variant":94,"_type":206},{"_id":886,"url":887,"alt":18,"caption":18,"credit":18,"width":357,"height":888},663,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_3976.jpg",2000,{"_id":890,"url":891,"alt":18,"caption":18,"credit":18,"width":357,"height":888},664,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FPortada3.jpg",{"_id":893,"url":894,"alt":18,"caption":18,"credit":18,"width":357,"height":888},665,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_39792.jpg",{"images":896,"size":84,"_type":57},[897],{"_id":898,"url":899,"alt":18,"caption":18,"credit":18,"width":900,"height":901},668,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F43.jpg",1075,722,{"questions":903,"_type":45},[904],{"question":905,"answer":906},"\u003Cp>Is there anything you’ve found yourself collecting over time that influences your practice?\u003C\u002Fp>\n","\u003Cp>I like to think of myself more as a collector of memories, techniques, and experiences rather than objects. There’s a beautiful concept in Japan called Shokunin, which refers to a master craftsman who dedicates their life to perfecting their craft. More than just a skilled worker, a shokunin embodies discipline, precision, and a deep sense of responsibility toward their work and society. The focus isn’t just on the final product but on mastering the technique, continuous improvement, and respecting materials. I completely connect with this idea—I believe we should focus less on what we own materially and more on what we cultivate spiritually.\u003C\u002Fp>\n",{"questions":908,"_type":45},[909],{"question":910,"answer":911},"\u003Cp>What’s something you’ve recently unlearned or changed your mind about?\u003C\u002Fp>\n","\u003Cp>I think it’s crucial to understand your limits and appreciate teamwork. No one gets far alone.\u003C\u002Fp>\n",{"questions":913,"_type":45},[914],{"question":915,"answer":916},"\u003Cp>What’s something you used to think was important, but now feel okay letting go of?\u003C\u002Fp>\n","\u003Cp>I’ve been deeply immersed in this project, but there’s always a balance to be found—between the pieces we make, communication, branding. Nothing will ever be perfect, but getting things done is more important.\u003C\u002Fp>\n",{"images":918,"size":139,"_type":57},[919],{"_id":920,"url":921,"alt":18,"caption":18,"credit":18,"width":900,"height":901},667,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F31.jpg",{"questions":923,"_type":45},[924],{"question":638,"answer":925},"\u003Cp>You can find us on Instagram at Taller Batan and on our website, www.tallerbatan.com. We have a space in the Roma Sur neighborhood of Mexico City, and anyone up for a short road trip is welcome to visit our main workshop in Donato Guerra, about an hour and a half from the city.\u003C\u002Fp>\n",{"_type":6,"_id":927,"slug":928,"name":929,"index":930,"date":931,"thumbnails":932,"description":944,"footerImage":945,"categories":949,"sections":951},276,"ege-miray-kaman","Ege Miray Kaman",8,"2025-04-02",{"quote":933,"main":934,"secondary":938,"reverse":24},"\u003Cp>“When these processes come together I always find myself inspired…”\u003C\u002Fp>\n",{"image":935,"background":21,"fit":139},{"_id":936,"url":937,"alt":18,"caption":18,"credit":18,"width":653,"height":653},2721,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-header.jpg",{"image":939,"background":137,"fit":139},{"_id":940,"url":941,"alt":18,"caption":18,"credit":18,"width":942,"height":943},277,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_1437.jpg",828,1087,"\u003Cp>Ege Miray Kaman\u003C\u002Fp>\n",{"_id":946,"url":947,"alt":18,"caption":18,"credit":18,"width":255,"height":948},281,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FDSC_9545a.jpg",744,[950],{"_id":33,"slug":34,"name":35},[952,957,962,969,974,979,991,996,1001,1006,1011,1013,1018],{"questions":953,"_type":45},[954],{"question":955,"answer":956},"\u003Cp>What’s your name and where are you based\u002Ffrom?\u003C\u002Fp>\n","\u003Cp>I am  Ege Miray Kaman and I am Istanbul based product designer and\u003Cbr \u002F>\ncreative.\u003C\u002Fp>\n",{"questions":958,"_type":45},[959],{"question":960,"answer":961},"\u003Cp>Can you tell us a bit about what you do?\u003C\u002Fp>\n","\u003Cp>I design, reinvent, produce objects and design items. I produce together with local makers\u002Fproducers\u002Fartisans. Personally, my design approach is focuses on daily life and routines. My aim is to bring joy and awareness\u003Cbr \u002F>\nto everyday acts. With observation, design thinking methods and creativity i am most of time finding myself discovering a whole new\u003Cbr \u002F>\nitem. I believe working with local producers is part of my style, adding value and transforming my works.\u003C\u002Fp>\n",{"images":963,"size":84,"_type":57},[964],{"_id":965,"url":966,"alt":18,"caption":18,"credit":18,"width":967,"height":968},669,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-3-2.jpeg",845,684,{"questions":970,"_type":45},[971],{"question":972,"answer":973},"\u003Cp>Do you remember the first time you decided this was what you wanted to do?\u003C\u002Fp>\n","\u003Cp>I was in middle school, I was constantly  dreaming about being an inventor for the future in modern way so I can always work on different\u003Cbr \u002F>\nprojects. Somebody told me that there is a major at  universities where I can have education for this somehow. From that conversation on, being a product designer just stuck in my mind.\u003C\u002Fp>\n",{"questions":975,"_type":45},[976],{"question":977,"answer":978},"\u003Cp>Where do you find inspiration?\u003C\u002Fp>\n","\u003Cp>Other forms of art, diving into researching and need of expressing myself. When these processes come together I always find myself inspired.\u003C\u002Fp>\n",{"variant":176,"images":980,"_type":73},[981,986],{"_id":982,"url":983,"alt":18,"caption":18,"credit":18,"width":984,"height":985},670,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-1.jpg",833,556,{"_id":987,"url":988,"alt":18,"caption":18,"credit":18,"width":989,"height":990},671,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-3.jpg",1020,680,{"questions":992,"_type":45},[993],{"question":994,"answer":995},"\u003Cp>Does the meaning of each piece remain solid or evolve over time?\u003C\u002Fp>\n","\u003Cp>This is a very good question. By the time pass, the meaning of design and user experience change, also functionality find different places.\u003Cbr \u002F>\nFor example the Molla is slowly becoming a kind of protest against keeping digital notes and photographs. Now it brings awareness to technologization. For me, now It’s more meaningful  then when It was first be released. Also the dialogue that objects open with spaces\u003Cbr \u002F>\nchanges so they resonates with users differently.\u003C\u002Fp>\n",{"images":997,"size":84,"_type":57},[998],{"_id":999,"url":1000,"alt":18,"caption":18,"credit":18,"width":984,"height":808},672,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-1.jpg",{"questions":1002,"_type":45},[1003],{"question":1004,"answer":1005},"\u003Cp>Is there a material that’s completely foreign to you but you’d love to work with?\u003C\u002Fp>\n","\u003Cp>I am very foreign to resin. It is very mysterious material to me and I am quite curious about. It seems very good to play with opacity levels,\u003Cbr \u002F>\ncolor shades, finishes and textures. It catches my attention and make me wanna touch each time. However, I am questioning about the formula and sustainability of it.\u003C\u002Fp>\n",{"questions":1007,"_type":45},[1008],{"question":1009,"answer":1010},"\u003Cp>Has anyone come up with a meaning from one of your pieces that you didn’t think of initially but makes absolute sense to you?\u003C\u002Fp>\n","\u003Cp>Seeing the people using my objects very unique ways are always a surprise to me and It always happens. I enjoyed reading my dm’s and seeing pics about it. And I believe my objects give this freedom to the users too. For example “Molla” is a paper display and noteholder. But I’ve seen people using them to hold and organize cables on tables. Melania pin tray and money box was holding cards and keys. Now, I see airpods and power banks too..\u003C\u002Fp>\n",{"image":1012,"variant":94,"background":137,"secondImage":24,"_type":98},{"_id":940,"url":941,"alt":18,"caption":18,"credit":18,"width":942,"height":943},{"questions":1014,"_type":45},[1015],{"question":1016,"answer":1017},"\u003Cp>If you were to live somewhere else, where would you chose to be?\u003C\u002Fp>\n","\u003Cp>Italy is literally my style and I would definitely live in parts of California too. Luckily I’ve experienced both. I love surfing so this It’s Oahu, Hawaii!\u003C\u002Fp>\n",{"questions":1019,"_type":45},[1020],{"question":1021,"answer":1022},"\u003Cp>Referring to your piece catharsis, do you remember the last time you felt any sort of catharsis?\u003C\u002Fp>\n","\u003Cp>Uhmm I believe this can be felt by individuals during therapy sessions a lot. For me, I was having catharsises a lot back to 2-3 years ago. Now I don’t, however I am always up to have a good catharsis :)) It is a very good way to have emotional releaeses and progress.\u003C\u002Fp>\n",{"_type":6,"_id":1024,"slug":1025,"name":1026,"index":1027,"date":1028,"thumbnails":1029,"description":1041,"footerImage":1042,"categories":1045,"sections":1047},282,"nico-sales","Nico Sales",9,"2025-04-03",{"quote":1030,"main":1031,"secondary":1037,"reverse":24},"\u003Cp>“Jewelry has a social imprint that we should not ignore when we talk about this art…”\u003C\u002Fp>\n",{"image":1032,"background":137,"fit":22},{"_id":1033,"url":1034,"alt":18,"caption":18,"credit":18,"width":1035,"height":1036},2799,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-2-2.jpg",906,941,{"image":1038,"background":21,"fit":56},{"_id":1039,"url":1040,"alt":18,"caption":18,"credit":18,"width":503,"height":503},284,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG-20240831-WA0020.jpg","\u003Cp>Footer Caption\u003C\u002Fp>\n",{"_id":1043,"url":1044,"alt":18,"caption":18,"credit":18,"width":504,"height":503},283,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG-20240906-WA0017.jpg",[1046],{"_id":127,"slug":146,"name":147},[1048,1053,1058,1064,1069,1074,1084,1089,1095,1100,1105,1110,1115,1124,1129,1134,1140],{"questions":1049,"_type":45},[1050],{"question":1051,"answer":1052},"\u003Cp>What is your name and where do you live?\u003C\u002Fp>\n","\u003Cp>My name is Nico Sales and I currently live in Palma, on the island of Mallorca.\u003C\u002Fp>\n",{"questions":1054,"_type":45},[1055],{"question":1056,"answer":1057},"\u003Cp>How did you start your journey in the world of jewelry?\u003C\u002Fp>\n","\u003Cp>My journey in the world of jewelry officially began in 2015, when after working a year in Kiev I returned to Spain and changed Madrid for Mallorca.\u003Cbr \u002F>\nI came from the world of sociology and social work and although I have always had a certain weakness for using my hands to express myself it was not until arriving in Mallorca when I decided to completely change my course. Here, at the School of Arts was where I learned the techniques and the same year I started my studies I got to work in a jewelry workshop, which allowed me to learn more about the material and the processes required for the final result is what we wear on our body. A result in which the amount of fire that is required goes unnoticed.\u003C\u002Fp>\n",{"images":1059,"size":84,"_type":57},[1060],{"_id":1061,"url":1062,"alt":18,"caption":18,"credit":18,"width":1063,"height":409},675,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-3.jpg",952,{"questions":1065,"_type":45},[1066],{"question":1067,"answer":1068},"\u003Cp>What does “precious” mean to you?\u003C\u002Fp>\n","\u003Cp>I think that in the world there are many and very diverse things that we can associate with this intense word. As far as jewelry is concerned and today what I think is that stones or metals can be precious, but what is really precious that a jewel contains is the time it takes to be revealed. And of course, the meaning that is imposed on the piece, the memory it contains. The word precious I think is very loaded with meanings and what I like about this word is that I’m still investigating its meaning.\u003C\u002Fp>\n",{"questions":1070,"_type":45},[1071],{"question":1072,"answer":1073},"\u003Cp>How has your background in sociology and social work influenced your creative vision?\u003C\u002Fp>\n","\u003Cp>My background in social work has influenced my creative process by accentuating the stories in the jewelry. Bringing to the forefront what they mean and for whom they mean something.\u003C\u002Fp>\n\u003Cp>Jewelry has a social imprint that we should not ignore when we talk about this art. And that social function is changeable and variable depending on the historical moment in which it is created and therefore fulfills a social function.\u003C\u002Fp>\n\u003Cp>Also the social act, as an act, led me 8 years ago to create Go Malaca with other colleagues. A space that allows to displace jewelry from the places created expressly for it. Since we founded it, we have intervened a bar, an optician’s shop, the street and even a nail salon. It is in a way an exercise in cultural democratization.\u003C\u002Fp>\n\u003Cp>I believe in jewelry as a tool with the ability to create changes in the social sphere, beyond the fact of being an ornament.\u003C\u002Fp>\n\u003Cp>Jewelry has always been a tool for social expression, we cannot ignore it.\u003C\u002Fp>\n",{"variant":176,"images":1075,"_type":73},[1076,1080],{"_id":1077,"url":1078,"alt":18,"caption":18,"credit":18,"width":1079,"height":1079},676,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-2.jpg",849,{"_id":1081,"url":1082,"alt":18,"caption":18,"credit":18,"width":1035,"height":1083},677,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-1.jpg",1210,{"questions":1085,"_type":45},[1086],{"question":1087,"answer":1088},"\u003Cp>What materials or found objects are you most attracted to at the moment and why?\u003C\u002Fp>\n","\u003Cp>Those materials that are connected to stories I know. When I was a child I kept in a shoebox objects that brought me memories, today and after many moves I still keep some of them. You can see that the manufacture of these objects was more cured, there was a certain care in the manufacturing process.\u003C\u002Fp>\n\u003Cp>The tin boxes are elements that have always fascinated me, I find them precious objects in all aspects, both new and old, as the paint is disappearing, giving way to rust and yet still fulfilling the same function as 50 years ago.\u003C\u002Fp>\n",{"images":1090,"size":84,"_type":57},[1091],{"_id":1092,"url":1093,"alt":18,"caption":18,"credit":18,"width":1094,"height":869},678,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10-1.jpg",610,{"questions":1096,"_type":45},[1097],{"question":1098,"answer":1099},"\u003Cp>What kind of stories or moments do you try to preserve through your pieces?\u003C\u002Fp>\n","\u003Cp>I think the moments I want to preserve are the ones I have lived and I also like it very much when someone chooses me to create theirs. I am not very clear if there is a common thread in my pieces, but I think they are very narrative, maybe I am the common thread of my pieces, maybe my pieces are something like a logbook.\u003C\u002Fp>\n",{"images":1101,"size":84,"_type":57},[1102],{"_id":1103,"url":1104,"alt":18,"caption":18,"credit":18,"width":840,"height":840},2798,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FNicoSales_SolitaireRing_2020-2.jpg",{"questions":1106,"_type":45},[1107],{"question":1108,"answer":1109},"\u003Cp>Who do you imagine wearing your work?\u003C\u002Fp>\n","\u003Cp>I think jewelry is for all those people who want to wear it. I don’t imagine if I have a specific public, I think that my work as a jeweler is to express and therefore all those people who connect with any piece of mine have the right and even the duty to wear it. In that way also these pieces generate new stories and new memories.\u003C\u002Fp>\n",{"questions":1111,"_type":45},[1112],{"question":1113,"answer":1114},"\u003Cp>Is your jewelry intended to be a memory, a connector, a conversation?\u003C\u002Fp>\n","\u003Cp>My jewelry is related to these 3 concepts, on the one hand it is a memory of the wearer. They are also a connector in that the person who contacts me and jointly generates a connection, with me and with the final result. And on the other hand, when that piece leaves my workshop and is exposed to the world, it opens up the possibility of generating conversations around it, although those conversations derived from my work no longer belong to me, in the same way that the memories it creates are no longer mine.\u003C\u002Fp>\n",{"variant":1116,"images":1117,"_type":73},"b3",[1118,1120],{"_id":990,"url":1119,"alt":18,"caption":18,"credit":18,"width":1079,"height":1079},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-3.jpg",{"_id":1121,"url":1122,"alt":18,"caption":18,"credit":18,"width":1079,"height":1123},681,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-1.jpg",637,{"questions":1125,"_type":45},[1126],{"question":1127,"answer":1128},"\u003Cp>What challenges do you face in creating thoughtful work in an industry that is moving at a dizzying pace?\u003C\u002Fp>\n","\u003Cp>The biggest challenge I feel I face is the fact that I don’t want to produce for the sake of producing, I don’t want to do things quickly. I want to enjoy the creative process, the aesthetic issue and the technical issue.\u003C\u002Fp>\n\u003Cp>Having the possibility of facing challenges is something that in the contemporary world is a fortunate thing.\u003C\u002Fp>\n\u003Cp>On the other hand, and this is also a very important issue, I have a job outside my jewelry workshop, a job that allows me to enjoy the creative process when I work on my work, just because it gives me money so i don´t feel the pressure when i’m creating my pieces.\u003Cbr \u002F>\nThe capitalist world is terrifying and in my experience what I have managed to do is to pay the bills but to be able to stand firm in my way of making in my space.\u003C\u002Fp>\n",{"questions":1130,"_type":45},[1131],{"question":1132,"answer":1133},"\u003Cp>What strikes you when you walk around your city? Are there textures, details or rhythms that stick in your mind?\u003C\u002Fp>\n","\u003Cp>Mallorca is sand-colored, the Mallorcan stone, the marés is undoubtedly the predominant texture in all this environment. It has a kind and crunchy aspect, like a cookie and somehow this stone awakens tenderness in me.\u003Cbr \u002F>\nThe Mallorcan shutter, enameled in “carriage green” color that allows you to see without being seen.\u003Cbr \u002F>\nHaving breakfast on a Sunday watching the street, Palma is a city that goes from a frenetic pace on weekdays to a slow and quiet pace on Sundays.\u003C\u002Fp>\n",{"images":1135,"size":56,"_type":57},[1136],{"_id":1137,"url":1138,"alt":18,"caption":18,"credit":18,"width":331,"height":1139},682,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUntitled-2-Recovered.jpg",788,{"questions":1141,"_type":45},[1142],{"question":638,"answer":1143},"\u003Cp>People can find me in my workshop if they want to meet me in person in the center of Palma.\u003Cbr \u002F>\nBut considering the digital age it might be easier to find me on instagram at @nicosalesjw or in my website www.nicosalesjw.com\u003Cbr \u002F>\nI am currently working on different projects that excite me a lot, one more artistic, with stones and reflecting on what it means to set.\u003Cbr \u002F>\nA more theoretical and almost anthropological project about precious stones and their use during the 15th century.\u003Cbr \u002F>\nAnd then another more specific one about jewelry and the function of the objects we create.\u003Cbr \u002F>\nSpecifically in terms of sharing a table to eat, utensils, cutlery and glasses.\u003Cbr \u002F>\nI like to experiment and when something clicks in my head I need to work tirelessly to develop it.\u003C\u002Fp>\n",{"_type":6,"_id":1145,"slug":1146,"name":1147,"index":1148,"date":1149,"thumbnails":1150,"description":1159,"footerImage":1160,"categories":1165,"sections":1167},287,"faye","Faye",10,"2025-04-04",{"quote":1151,"main":1152,"secondary":1158,"reverse":24},"\u003Cp>“I Make Art.”\u003C\u002Fp>\n",{"image":1153,"background":21,"fit":139},{"_id":1154,"url":1155,"alt":18,"caption":18,"credit":18,"width":1156,"height":1157},292,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFaye-Image-2aaa.jpg",493,868,{"image":24,"background":21,"fit":22},"\u003Cp>Fynn Wilson is a photographic artist and director based in Cape Town, South Africa. His work explores themes of identity, belonging and self-actualisation. Fynn’s work has been featured on platforms such as Photo Vogue, Nataal Media & Bubblegum Club to name but a few. He is resolute in his passion for making and self expression, and seldom finds himself without a camera in hand.\u003C\u002Fp>\n",{"_id":1161,"url":1162,"alt":18,"caption":18,"credit":18,"width":1163,"height":1164},811,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-11.jpg",1265,1859,[1166],{"_id":127,"slug":146,"name":147},[1168,1173,1178,1189,1194,1201,1206,1212,1217,1229,1234,1239,1245,1250,1255,1260,1266,1271,1281,1286],{"questions":1169,"_type":45},[1170],{"question":1171,"answer":1172},"\u003Cp>What’s your name and where are you based?\u003C\u002Fp>\n","\u003Cp>Faye, Cape town\u003C\u002Fp>\n",{"questions":1174,"_type":45},[1175],{"question":1176,"answer":1177},"\u003Cp>How would you describe what you do in a few words?\u003C\u002Fp>\n","\u003Cp>I make Art\u003C\u002Fp>\n",{"variant":1179,"images":1180,"_type":73},"b1",[1181,1186],{"_id":1182,"url":1183,"alt":18,"caption":18,"credit":18,"width":1184,"height":1185},812,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-12.jpg",1114,1699,{"_id":1187,"url":1188,"alt":18,"caption":18,"credit":18,"width":1184,"height":1185},813,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-11.jpg",{"questions":1190,"_type":45},[1191],{"question":1192,"answer":1193},"\u003Cp>You describe FAYE as a moniker, how does that alter or expand the way you make or present your work? Is FAYE someone you become, or someone who becomes you?\u003C\u002Fp>\n","\u003Cp>Faye is someone I Become through my development. He is the culmination of my experiences and the embodiment of my psyche.\u003C\u002Fp>\n",{"images":1195,"size":84,"_type":57},[1196],{"_id":1197,"url":1198,"alt":18,"caption":18,"credit":18,"width":1199,"height":1200},814,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-11.jpg",1567,1051,{"questions":1202,"_type":45},[1203],{"question":1204,"answer":1205},"\u003Cp>You’re both an artist and a psychology student, how do these two worlds interact, in your daily thinking?\u003C\u002Fp>\n","\u003Cp>One is theory, the other is practice.. Studying psychology with a particular focus on neuroaesthetics allows me to make sense of what I make. It is also a fun theoretical paradigm to utilize for exploration of self and other.\u003C\u002Fp>\n",{"images":1207,"size":84,"_type":57},[1208],{"_id":1209,"url":1210,"alt":18,"caption":18,"credit":18,"width":1211,"height":55},815,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-8.jpg",1393,{"questions":1213,"_type":45},[1214],{"question":1215,"answer":1216},"\u003Cp>Your work moves between photography, drawing, printmaking, and painting, how do you choose a medium for a particular idea?\u003C\u002Fp>\n","\u003Cp>Sometimes its predetermined, other times an intuitive response. I use whatever medium is necessary to say what it is I am trying to convey.\u003C\u002Fp>\n",{"first":1218,"second":1223,"third":1226,"variant":94,"_type":206},{"_id":1219,"url":1220,"alt":18,"caption":18,"credit":18,"width":1221,"height":1222},816,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-11.jpg",1161,1700,{"_id":1224,"url":1225,"alt":18,"caption":18,"credit":18,"width":1221,"height":1222},817,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-12.jpg",{"_id":1227,"url":1228,"alt":18,"caption":18,"credit":18,"width":1221,"height":1222},818,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-8.jpg",{"questions":1230,"_type":45},[1231],{"question":1232,"answer":1233},"\u003Cp>Mental health, pop culture, and neo-colonialism all live in the same space in your work. What draws you to these intersections?\u003C\u002Fp>\n","\u003Cp>They’re all intersections I inhabit.\u003C\u002Fp>\n",{"questions":1235,"_type":45},[1236],{"question":1237,"answer":1238},"\u003Cp>How do you know when a piece is finished?\u003C\u002Fp>\n","\u003Cp>I don’t. I have to physically stop myself as soon as an inkling of ‘finishedness’ appears. Its complicated.\u003C\u002Fp>\n",{"images":1240,"size":56,"_type":57},[1241],{"_id":1242,"url":1243,"alt":18,"caption":18,"credit":18,"width":437,"height":1244},819,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-7.jpg",1424,{"questions":1246,"_type":45},[1247],{"question":1248,"answer":1249},"\u003Cp>What’s one piece you’ve made that feels closest to the inside of your mind?\u003C\u002Fp>\n","\u003Cp>At the time, my series “whispers and counting – IV” that were shown at my exhibition at one park in Cape town in April 2024.\u003C\u002Fp>\n",{"questions":1251,"_type":45},[1252],{"question":1253,"answer":1254},"\u003Cp>What’s the last object or space that moved you and why?\u003C\u002Fp>\n","\u003Cp>My laptop. Im playing the skee mask essential mix and it’s fucking pumping.\u003C\u002Fp>\n",{"questions":1256,"_type":45},[1257],{"question":1258,"answer":1259},"\u003Cp>Do you think someone who knows you well would see your work as a reflection of who you are?\u003C\u002Fp>\n","\u003Cp>Yes, my mom. She cant stand it.\u003C\u002Fp>\n",{"images":1261,"size":139,"_type":57},[1262],{"_id":1263,"url":1264,"alt":18,"caption":18,"credit":18,"width":1265,"height":990},820,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10-2.jpg",966,{"questions":1267,"_type":45},[1268],{"question":1269,"answer":1270},"\u003Cp>In life, what’s a word you use too often, and a word you wish you used more?\u003C\u002Fp>\n","\u003Cp>Lol the first is “nuance” the second is “forgive.”\u003C\u002Fp>\n",{"variant":1116,"images":1272,"_type":73},[1273,1278],{"_id":1274,"url":1275,"alt":18,"caption":18,"credit":18,"width":1276,"height":1277},821,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-3.jpg",883,1327,{"_id":1279,"url":1280,"alt":18,"caption":18,"credit":18,"width":1276,"height":1277},822,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-4.jpg",{"questions":1282,"_type":45},[1283],{"question":1284,"answer":1285},"\u003Cp>Is there a material or medium you haven’t worked with yet that you’re curious to explore next?\u003C\u002Fp>\n","\u003Cp>Sculpture, assemblage, public installations\u003C\u002Fp>\n",{"questions":1287,"_type":45},[1288],{"question":638,"answer":1289},"\u003Cp>On instagram @Fynnwilson_\u003C\u002Fp>\n",{"_type":6,"_id":1291,"slug":1292,"name":1293,"index":1294,"date":1295,"thumbnails":1296,"description":1310,"footerImage":1311,"categories":1313,"sections":1315},293,"293-2","Emma Clarke",11,"2025-04-05",{"quote":1297,"main":1298,"secondary":1303,"reverse":1309},"\u003Cp>“Fragility and stability is inherent to the material of ceramic itself and it is really interesting to observe the flux of different emotions…”\u003C\u002Fp>\n",{"image":1299,"background":21,"fit":139},{"_id":1300,"url":1301,"alt":18,"caption":18,"credit":18,"width":279,"height":1302},433,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_4800xx.jpg",1431,{"image":1304,"background":21,"fit":22},{"_id":1305,"url":1306,"alt":18,"caption":18,"credit":18,"width":1307,"height":1308},808,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-6.jpg",1459,1202,true,"\u003Cp>The work of London-based designer Emma Clarke straddles ceramic sculpture and furniture.Embracing tensions between refined unity and layered complexity, Clarke’s quasi-functional works – in wood, textile, and ceramics – trouble traditionally assigned uses, crafting subtle oscillations between fragility and stability. The resulting combinations offer a singular design language and tease movement out of living’ materials.\u003C\u002Fp>\n",{"_id":19,"url":1312,"alt":18,"caption":18,"credit":18,"width":528,"height":753},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage0-3.jpeg",[1314],{"_id":127,"slug":146,"name":147},[1316,1321,1326,1333,1338,1344,1349,1354,1359,1364,1370,1375,1380,1387,1392],{"questions":1317,"_type":45},[1318],{"question":1319,"answer":1320},"\u003Cp>What’s your name and where are you based?\u003C\u002Fp>\n","\u003Cp>Emma Clarke. I was born in the UK, after living away for 9 years I returned and am now based in East London.\u003C\u002Fp>\n",{"questions":1322,"_type":45},[1323],{"question":1324,"answer":1325},"\u003Cp>Can you describe in a few words what it is that you do?\u003C\u002Fp>\n","\u003Cp>I like to use the term ‘Functional Sculpture’, ‘Performative objects’ circles around also. I think this comes from not wanting to box oneself into a specific term and it embodies the movement I am interested in creating through my work. The material differences progressively integrate and oscillate- and it’s this oscillation where I find I’m able to create the movement and vibration I want out of static objects.\u003C\u002Fp>\n",{"images":1327,"size":56,"_type":57},[1328],{"_id":1329,"url":1330,"alt":18,"caption":18,"credit":18,"width":1331,"height":1332},801,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-10.jpg",1260,1538,{"questions":1334,"_type":45},[1335],{"question":1336,"answer":1337},"\u003Cp>What is your relationship with material, what draws you to a particular choice?\u003C\u002Fp>\n","\u003Cp>I have a very strong physical and metaphorical relationship with material, just reading this question makes my hands move into the motion of touching materials. I am drawn to each material for the quality it holds, how it speaks in relation to that particular element of the piece and how the materials communicate with one another, highlighting each other’s physicalities, and offering a new language from the resulting combinations. My current project includes felted wool, which is chosen for its insulating, protecting notions and was influenced by my surroundings in the Netherlands where there has been a huge decline in the wool industry due to the mass market and the fast paced fashion industry. I am working currently with materials that would normally be seen as a by-product, utilised in the fabrication process for the production of another material. At this moment specifically plaster and wax which is used for slip or bronze casting, which during the process this’ by’ material would melt away or after be disposed of. I’m interested in the removal of hierarchies between materials, the work will consist of conglomerations of techniques, and aesthetics, each with their own associations in terms of ‘artisanal’ and ‘contemporary’, ‘high’ and ‘low’ material\u002Fprocess values, and how the various materials attributes resonate with each other through their same material component but displacement in so called values.\u003C\u002Fp>\n",{"images":1339,"size":84,"_type":57},[1340],{"_id":1341,"url":1342,"alt":18,"caption":18,"credit":18,"width":1343,"height":1332},802,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-11.jpg",2040,{"questions":1345,"_type":45},[1346],{"question":1347,"answer":1348},"\u003Cp>How does your background in fashion and textiles inform the way you work with surface and form?\u003C\u002Fp>\n","\u003Cp>It informs it in many ways, my work in fashion has always been fabrication lead and I think that’s why I started out in knitwear as you start by creating the yarn, then move to the stitch and combining these two attributes informs the volume\u002Fform. Also the pattern cutting element became so apparent in my work with clay. I apply the same principles darting out clay to create curves, seam allowances when joining two parts. Most recently I produced a series of chairs that have curving forms made from single slabs of hand pressed clay. The clay took on the notions of fabric which was raised up with a fork lift and draped around temporary forms.\u003C\u002Fp>\n",{"images":1350,"size":84,"_type":57},[1351],{"_id":1352,"url":1353,"alt":18,"caption":18,"credit":18,"width":1343,"height":1332},803,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-10.jpg",{"questions":1355,"_type":45},[1356],{"question":1357,"answer":1358},"\u003Cp>Do you want people to touch, sit with, or physically interact with your work? What kind of bodily response do you hope to achieve?\u003C\u002Fp>\n","\u003Cp>All of the above, my first pieces worked with an assemblage notion, where elements slotted into each other enabling an interaction with the piece and the person. It also allowed for longevity of the pieces with the possibility that the elements could be changed overtime.\u003Cbr \u002F>\nWith the more recent pieces they brought about an extended notion of interaction through sitting and supporting the body. Fragility and stability is inherent to the material of ceramic itself and it is really interesting to observe the flux of different emotions in the act of sitting in one of the chairs. Initially there is a cautionary approach, followed by a sense of relief and ending in comfort, once the mind allows the person to understand the chair has all the ability to support the body.\u003C\u002Fp>\n",{"questions":1360,"_type":45},[1361],{"question":1362,"answer":1363},"\u003Cp>Is there a material you’ve worked with that surprised you emotionally or physically, during the making process?\u003C\u002Fp>\n","\u003Cp>Yes, most recently at a residency with the EKWC (The International Artist in Residence and Research Centre for Ceramics) in the Netherlands through discussions I came to the awareness that working with clay is a dialogue rather than a monologue. We are aware of this notion in other aspects of our lives but I don’t think we see materials like this predominantly. You have to work with the material and its qualities, naturally you can push these boundaries but if you’re in a monologue the piece won’t work, it will collapse or crack. Finding an equilibrium with a material allows for interesting possibilities. I enjoy the finicalties of clay, you have to nurture it, give it exact conditions throughout the whole working process, and this has spurred me to take up a residency in the Japanese forest outside Kyoto. I want to learn the ways and life of wood, traditional Urishi lacquering and wood bending. It is important to really understand the materials you are working with and I want to match my knowledge of clay with that of wood and many more materials.\u003C\u002Fp>\n",{"images":1365,"size":56,"_type":57},[1366],{"_id":1367,"url":1368,"alt":18,"caption":18,"credit":18,"width":1369,"height":1332},804,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-10.jpg",1154,{"questions":1371,"_type":45},[1372],{"question":1373,"answer":1374},"\u003Cp>Is there a material you’ve never felt but intrigued by in its potential?\u003C\u002Fp>\n","\u003Cp>I am currently intrigued by Japanese paper and using the process of coating it with flour paste or fiberglass. It intrigues me to take something so delicate and make it strong, almost encapsulating this delicate fibre in a protective layer. And then to use this in my pieces, to sit on paper, for your body to be supported by a fibre unimaginable to hold your body.\u003C\u002Fp>\n",{"questions":1376,"_type":45},[1377],{"question":1378,"answer":1379},"\u003Cp>What does your process look like from first idea to final form? Do you follow a plan, or let the materials lead?\u003C\u002Fp>\n","\u003Cp>I generally start with a sketch, the clay element is the foundation which I will produce first through lots of different experimentations. Making and testing my own clay bodies, trialing different techniques of how to produce what I desire and mixing my own glazes. Through this process the design will then be a collaboration between me and the clay with what is possible and which elements would evolve in this process. Once I have the clay body the other elements lead through a synthesising process.\u003C\u002Fp>\n",{"variant":1116,"images":1381,"_type":73},[1382,1384],{"_id":54,"url":1383,"alt":18,"caption":18,"credit":18,"width":1369,"height":1332},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-7.jpg",{"_id":1385,"url":1386,"alt":18,"caption":18,"credit":18,"width":1369,"height":1332},806,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-10.jpg",{"questions":1388,"_type":45},[1389],{"question":1390,"answer":1391},"\u003Cp>Has there been a piece or project that taught you something unexpected about yourself, or your practice?\u003C\u002Fp>\n","\u003Cp>Each project is a beautiful learning process, about myself, my practice and the materials I work with. There’s a beauty of starting out a new project and having no idea where it will take you, the people you will meet and where you will stand at the end.\u003C\u002Fp>\n",{"questions":1393,"_type":45},[1394],{"question":638,"answer":1395},"\u003Cp>You can find me at my studio in East London and on instagram @spikezebedi\u003C\u002Fp>\n",{"_type":6,"_id":1397,"slug":1398,"name":1399,"index":1400,"date":1401,"thumbnails":1402,"description":1409,"footerImage":1410,"categories":1415,"sections":1417},300,"melissa-knoesen","Melissa Knoesen",12,"2025-04-06",{"quote":1403,"main":1404,"secondary":1408,"reverse":24},"\u003Cp>“There’s a misconception that creativity thrives on spontaneity, but I’ve found the opposite to be true.”\u003C\u002Fp>\n",{"image":1405,"background":137,"fit":139},{"_id":1406,"url":1407,"alt":18,"caption":18,"credit":18,"width":653,"height":652},302,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fself_portrait_02a.jpg",{"image":24,"background":21,"fit":22},"\u003Cp>Melissa Knoesen is a ceramic artist based in Cape Town. Her work is an intuitive process of hand-building where she lets the clay reveal a form rather than forcing it to obey a design. She relies on the “accident” of the material, believing that the most expressive parts of a sculpture come from the clay acting on its own. Each piece is a distillation of her internal emotional state, responding to what is beneath the surface during the making. She often only recognises what has been embedded in the clay once the work is finished. For Melissa, a completed sculpture no longer belongs to her. She releases it without an imposed narrative, allowing its story to keep unfolding through the personal connection of whoever encounters it.\u003C\u002Fp>\n",{"_id":1411,"url":1412,"alt":1413,"caption":18,"credit":1413,"width":653,"height":1414},301,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FR1-01127-0008f.jpg","Benjamin Salvatore",1835,[1416],{"_id":259,"slug":260,"name":261},[1418,1425,1435,1440,1449,1454,1469,1474,1483,1488,1495,1500,1508,1513,1519,1524,1532,1537,1542,1547,1552,1557],{"questions":1419,"_type":45},[1420,1422],{"question":1171,"answer":1421},"\u003Cp>Melissa Knoesen and I am based in Cape Town, South Africa.\u003C\u002Fp>\n",{"question":1423,"answer":1424},"\u003Cp>How would you describe what you do?\u003C\u002Fp>\n","\u003Cp>I work with clay to create abstract forms that feel both familiar and ambiguous. My pieces explore contrast, sensual yet austere, fluid yet structured, grounded yet defiant. There’s a tension I like to hold between what is immediately inviting and what unsettles, a push and pull that keeps the work alive. Each sculpture is an exploration of that balance, a negotiation between intention and instinct.\u003C\u002Fp>\n",{"images":1426,"size":56,"_type":57},[1427,1432],{"_id":1428,"url":1429,"alt":1413,"caption":1413,"credit":1413,"width":1430,"height":1431},307,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FR1-01127-0013bb.jpg",1400,916,{"_id":1433,"url":1434,"alt":18,"caption":1413,"credit":1413,"width":1431,"height":1430},312,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FR1-01127-0011a.jpg",{"questions":1436,"_type":45},[1437],{"question":1438,"answer":1439},"\u003Cp>You mention that each sculpture reflects a specific moment in your life. Do you begin with the emotion in mind, or does it come out through making?\u003C\u002Fp>\n","\u003Cp>I never set out to capture an emotion in a literal way. The process unfolds intuitively, with each movement shaping the next. Only once a piece is finished do I recognise what has been embedded in it. Often, the most expressive works emerge from times of internal conflict, though that’s not by design. The clay reveals rather than obeys, responding to what lingers beneath the surface.\u003C\u002Fp>\n",{"variant":64,"images":1441,"_type":73},[1442,1446],{"_id":1443,"url":1444,"alt":18,"caption":1413,"credit":1413,"width":1430,"height":1445},313,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FR1-01127-0022a.jpg",2140,{"_id":1447,"url":1448,"alt":18,"caption":18,"credit":1413,"width":653,"height":1414},314,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FR1-01127-0033a.jpg",{"questions":1450,"_type":45},[1451],{"question":1452,"answer":1453},"\u003Cp>Have you ever made something that felt too raw or personal to share?\u003C\u002Fp>\n","\u003Cp>No. The work exists beyond me once it’s made. My role is to shape and release it, not dictate how it should be received. I don’t expect people to see what I see. There’s no imposed narrative, just the form, the material, and whatever it evokes in the viewer. The sculptures should stand on their own, as physical expressions of a moment in time, open to interpretation. If anything, the more personal a piece feels to me, the more I trust it has something worth sharing.\u003C\u002Fp>\n",{"first":1455,"second":1460,"third":1464,"variant":94,"_type":206},{"_id":1456,"url":1457,"alt":18,"caption":18,"credit":18,"width":1458,"height":1459},310,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FDEMON.1.png",1290,1936,{"_id":1461,"url":1462,"alt":18,"caption":18,"credit":18,"width":1458,"height":1463},311,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FANGE.1.png",1935,{"_id":1465,"url":1466,"alt":18,"caption":18,"credit":18,"width":1467,"height":1468},309,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FANGE-OU-DEMON.jpg",1350,1830,{"questions":1470,"_type":45},[1471],{"question":1472,"answer":1473},"\u003Cp>There’s something bodily about your work, sculptures that feel like gestures. Do you think about the body when you sculpt?\u003C\u002Fp>\n","\u003Cp>Not intentionally, but the connection is there. I’m drawn to curves and weight, to the way surfaces hold and reflect light, to forms that suggest movement or restraint. These qualities naturally evoke the human form, though I like to push that familiarity toward something more uncertain. A piece might begin with softness, then be disrupted by an exaggerated line, an abrupt cut, an almost grotesque distortion. That balance between attraction and discomfort, between what feels known and what unsettles, is what interests me most.\u003C\u002Fp>\n",{"variant":1179,"images":1475,"_type":73},[1476,1480],{"_id":1477,"url":1478,"alt":18,"caption":18,"credit":18,"width":1430,"height":1479},317,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUNTITLED.111454a.jpg",1867,{"_id":1481,"url":1482,"alt":18,"caption":18,"credit":18,"width":1430,"height":1479},318,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUNTITLED.111736a.jpg",{"questions":1484,"_type":45},[1485],{"question":1486,"answer":1487},"\u003Cp>What has working with clay taught you about yourself?\u003C\u002Fp>\n","\u003Cp>That control is an illusion. You can guide the material, but you can’t force it into submission without losing something essential. The best work happens when you engage with what’s in front of you rather than trying to impose a rigid idea onto it. It’s a lesson that applies far beyond the studio. Clay demands presence, patience, and a willingness to let go, qualities I’m still learning to carry into the rest of my life.\u003C\u002Fp>\n",{"images":1489,"size":139,"_type":57},[1490],{"_id":1491,"url":1492,"alt":18,"caption":18,"credit":1413,"width":1493,"height":1494},702,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-4.jpg",1511,972,{"questions":1496,"_type":45},[1497],{"question":1498,"answer":1499},"\u003Cp>Is there a sculpture in your series Synthesis that felt particularly difficult to make?\u003C\u002Fp>\n","\u003Cp>Ange ou Démon and Verity, both physically and emotionally demanding. Their scale pushed the limits of what I had attempted before, and with that came an ongoing struggle with gravity, weight, and the point at which something becomes unstable. I was constantly working against collapse, which in some ways became part of the work itself, the tension of something holding together just enough. That push and pull between presence and fragility is what made them so difficult but also the most rewarding.\u003C\u002Fp>\n",{"variant":64,"images":1501,"_type":73},[1502,1505],{"_id":1503,"url":1504,"alt":18,"caption":18,"credit":18,"width":1494,"height":1494},703,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fverity-2.jpg",{"_id":1506,"url":1507,"alt":18,"caption":18,"credit":18,"width":1494,"height":1494},704,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FVerity1.jpg",{"questions":1509,"_type":45},[1510],{"question":1511,"answer":1512},"\u003Cp>Outside of your practice, is there an object you keep close?\u003C\u002Fp>\n","\u003Cp>I collect things instinctively. Stones, notes, champagne corks, flowers. They aren’t curated, just remnants of moments I’m reluctant to let go of. Objects have a way of anchoring time, holding something of the past in a way that words can’t.\u003C\u002Fp>\n",{"images":1514,"size":84,"_type":57},[1515],{"_id":1516,"url":1517,"alt":18,"caption":18,"credit":18,"width":1518,"height":1494},705,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fcollect.jpg",729,{"questions":1520,"_type":45},[1521],{"question":1522,"answer":1523},"\u003Cp>Has someone ever seen something in your work that surprised you?\u003C\u002Fp>\n","\u003Cp>Often. Someone will point out a shape I hadn’t noticed, a body part, a landscape, an animal, something entirely outside my own frame of reference. Once it’s seen, it’s impossible to unsee. I love that about sculpture, how it shifts depending on who’s looking, how meaning isn’t fixed. The work continues to evolve long after I’ve finished making it.\u003C\u002Fp>\n",{"variant":176,"images":1525,"_type":73},[1526,1529],{"_id":1527,"url":1528,"alt":18,"caption":18,"credit":18,"width":1518,"height":1494},706,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-4.jpg",{"_id":1530,"url":1531,"alt":18,"caption":18,"credit":18,"width":1518,"height":1494},707,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-6.jpg",{"questions":1533,"_type":45},[1534],{"question":1535,"answer":1536},"\u003Cp>Do you listen to anything while you sculpt?\u003C\u002Fp>\n","\u003Cp>Mostly classical music. It keeps me immersed in the process without dictating the rhythm. There’s something about its fluidity, the way it moves in waves, that feels aligned with working in clay. Sometimes, though, silence is also enough.\u003C\u002Fp>\n",{"questions":1538,"_type":45},[1539],{"question":1540,"answer":1541},"\u003Cp>If you could explore another material, what would it be?\u003C\u002Fp>\n","\u003Cp>I’ve always been drawn to painting, the idea of expressing with colour and brushstrokes has a quiet appeal, something I’ve only recently started exploring. At the same time, glass fascinates me. Its transparency and fragility, the way it interacts with light, the way it holds both presence and absence. It shares something with clay in its transformation, soft before it sets, shaped by heat and time. Whether it’s the tactile immediacy of painting or the interplay of light and structure in glass, both offer a new way of engaging with form that I’d love to explore further.\u003C\u002Fp>\n",{"questions":1543,"_type":45},[1544],{"question":1545,"answer":1546},"\u003Cp>Do you believe in routines, or do you move through days instinctively?\u003C\u002Fp>\n","\u003Cp>I need routine. There’s a misconception that creativity thrives on spontaneity, but I’ve found the opposite to be true. Structure creates the space for flow, without it, things feel unanchored. I need that discipline, that rhythm, to keep me moving forward. It’s not about rigidity, but about carving out time where the work can happen without distraction.\u003C\u002Fp>\n",{"images":1548,"size":84,"_type":57},[1549],{"_id":1550,"url":1551,"alt":18,"caption":18,"credit":18,"width":1518,"height":1494},708,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fsea.jpg",{"questions":1553,"_type":45},[1554],{"question":1555,"answer":1556},"\u003Cp>Are you someone who keeps things, or lets them go?\u003C\u002Fp>\n","\u003Cp>I hold onto things, probably longer than I should. Physical objects, emotions, thoughts, I carry them all. I admire people who can let go easily, but I don’t think I’m wired that way. In my work, though, I’ve learned that gripping too tightly doesn’t always serve me. Clay cracks when it’s overworked, becomes brittle when forced into something it doesn’t want to be. Maybe there’s something in that.\u003C\u002Fp>\n",{"questions":1558,"_type":45},[1559],{"question":638,"answer":1560},"\u003Cp>I’m in the process of moving my studio to Simon’s Town, but my work is always accessible online.\u003C\u002Fp>\n\u003Cp>You can find me here:\u003C\u002Fp>\n\u003Cp>Website: www.melissaknoesen.com\u003C\u002Fp>\n\u003Cp>Instagram: @melissaknoesenart\u003C\u002Fp>\n",{"_type":6,"_id":1562,"slug":1563,"name":1564,"index":1565,"date":1566,"thumbnails":1567,"description":1579,"footerImage":1580,"categories":1584,"sections":1586},319,"maiii-collective","MAIII Collective",13,"2025-04-07",{"quote":1568,"main":1569,"secondary":1574,"reverse":24},"\u003Cp>“Through furniture and objects, we share our cultural roots, values, personal and family memories that shaped us and that we want to pass on to the next generations.”\u003C\u002Fp>\n",{"image":1570,"background":21,"fit":56},{"_id":1571,"url":1572,"alt":18,"caption":18,"credit":18,"width":653,"height":1573},324,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FScreenshot-2026-01-29-at-10.56.30ab.jpg",1008,{"image":1575,"background":21,"fit":139},{"_id":1576,"url":1577,"alt":18,"caption":18,"credit":18,"width":255,"height":1578},320,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FScreenshot-2026-01-29-at-10.55.37.png",1272,"\u003Cp>MAIII Collective is a community of independent designers who explore dialogue, experimentation, and the value born from collaboration in design. In their joint work, the object becomes a medium of thought — a tool for reinterpreting social, cultural, and functional layers. The members are also active in design education, promoting a culture of sharing, collective thinking, and open dialogue. They believe that design is not an isolated practice but a living relationship.\u003C\u002Fp>\n",{"_id":1581,"url":1582,"alt":18,"caption":18,"credit":18,"width":1583,"height":1583},323,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-maiii-collective-team.2-AMqlE60WMzcl2VKl.avif",0,[1585],{"_id":33,"slug":34,"name":35},[1587,1592,1597,1604,1609,1614,1619,1624,1629,1636,1641,1651,1656,1667,1672,1678,1683,1691,1699,1707,1711,1716,1721,1726,1731],{"questions":1588,"_type":45},[1589],{"question":1590,"answer":1591},"\u003Cp>What are your names and where are you based?\u003C\u002Fp>\n","\u003Cp>Members of the collective:\u003C\u002Fp>\n\u003Cp>Rebeka Csiby-Gindele\u003Cbr \u002F>\nViktória Dawson V.\u003Cbr \u002F>\nEszter Hanko\u003Cbr \u002F>\nBalázs Kisgyörgy\u003Cbr \u002F>\nFlóra Lukovics\u003Cbr \u002F>\nBlanka Timári\u003Cbr \u002F>\nRoberta Wende\u003Cbr \u002F>\nZsófia Zala\u003C\u002Fp>\n\u003Cp>We are all currently living and working in Budapest.\u003C\u002Fp>\n",{"questions":1593,"_type":45},[1594],{"question":1595,"answer":1596},"\u003Cp>Can you tell us about what you do?\u003C\u002Fp>\n","\u003Cp>Viki: I’d definitely say it goes further than simply creating—at least for us it does. But we’d also like to expand this circle and help strengthen the design scene and culture in Hungary, and share its potential and values internationally. Behind the act of making, in the physical sense, there are countless hours of professional, cultural, and often philosophical discussions, debates, and research. Even our casual conversations as friends play a big role in shaping both us and our objects.\u003C\u002Fp>\n\u003Cp>Our work aims to highlight values that are often hidden or fading. I think even just the strength of the collective itself—the sense of unity and commitment—is one such value.\u003C\u002Fp>\n",{"images":1598,"size":84,"_type":57},[1599],{"_id":1600,"url":1601,"alt":18,"caption":18,"credit":18,"width":1602,"height":1603},710,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFragments-collection6.jpg",935,986,{"questions":1605,"_type":45},[1606],{"question":1607,"answer":1608},"\u003Cp>How did MAIII Collective begin? Is there a specific moment you knew you wanted to work together?\u003C\u002Fp>\n","\u003Cp>Viki: There was this bittersweet feeling during our last university semester, working shoulder to shoulder in the workshop—we didn’t want it to end. The idea came up here and there afterward, but it wasn’t until a year later that a specific moment arrived: Eszti asked if we’d be up for it. By that time, we had all realized that if we wanted to do this kind of work in Hungary, we’d have to create the opportunities ourselves—so yes, we were definitely up for it.\u003C\u002Fp>\n\u003Cp>Balázs: We met at the university at the master’s programme, we were classmates and became good friends.\u003C\u002Fp>\n",{"images":1610,"size":56,"_type":57},[1611],{"_id":1612,"url":1613,"alt":18,"caption":18,"credit":18,"width":1518,"height":1494},711,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-2.jpg",{"questions":1615,"_type":45},[1616],{"question":1617,"answer":1618},"\u003Cp>There’s 8 of you, how do you balance roles? Is this predetermined or changes depending on the project you work on?\u003C\u002Fp>\n","\u003Cp>Viki: We divide tasks based on individual strengths and availability, which vary a lot—since all of us have other jobs that finance our day-to-day lives and our shared passion. When organizing and running the Stockholm exhibition, we formed smaller working groups that held their own meetings. This helped a lot, because it meant not everyone had to be involved in everything at all times. That kind of mental load-sharing is a huge benefit of being a larger team.\u003C\u002Fp>\n",{"questions":1620,"_type":45},[1621],{"question":1622,"answer":1623},"\u003Cp>What’s something unexpected you learned about yourself, or one another, during this project?\u003C\u002Fp>\n","\u003Cp>Viki: I think none of us originally joined the collective with this goal in mind, but it gave all of us a sense of confidence and helped us identify as designers. That feeling—that we are legitimate members of a professional community that we also bear responsibility for.\u003C\u002Fp>\n\u003Cp>I think we also came to understand each other’s design identities and attitudes in ways that often don’t show up in finished pieces or solo works, but are very present during the research and design process—who’s more critical, who’s more permissive, who’s chaotic, who’s structured.\u003C\u002Fp>\n\u003Cp>Through developing the concept of Fragments, we also shared much deeper layers of ourselves—how we grew up, what our grandparents’ houses were like, the memories tied to them, what we got for Christmas as kids, what we wished for, what each family could or couldn’t afford.\u003C\u002Fp>\n",{"questions":1625,"_type":45},[1626],{"question":1627,"answer":1628},"\u003Cp>Can you tell us about your collection FRAGMENTS?\u003C\u002Fp>\n","\u003Cp>Balázs: Fragments is the first collection of narrative objects we created together. Each piece in the collection is a reflection of inherited identity and traditions that define our generation. Through furniture and objects, we share our cultural roots, values, personal and family memories that shaped us and that we want to pass on to the next generations. Context is crucial, when you share the story behind an object, it adds another layer of meaning. The project invites the audience to connect with these stories, whether through shared experiences or as a curious outsider exploring a new perspective.\u003C\u002Fp>\n",{"images":1630,"size":84,"_type":57},[1631],{"_id":1632,"url":1633,"alt":18,"caption":18,"credit":18,"width":1634,"height":1635},712,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFragments-collection2.jpg",1077,1609,{"questions":1637,"_type":45},[1638],{"question":1639,"answer":1640},"\u003Cp>Each piece in FRAGMENTS holds personal history. How did you approach individual stories while building a cohesive whole?\u003C\u002Fp>\n","\u003Cp>Viki: When thinking about cultural identity, we often discussed how an outsider tends to associate Hungary with certain stereotypes that feel very distant to us as young adults living here. Our sense of belonging also has harder-to-define qualities: geographically we’re in Central Europe, but in daily life we often feel more connected to the Balkans, while linguistically we’re completely isolated—there’s not even a slight similarity to anything else.\u003Cbr \u002F>\nEach of our objects expresses a personal story, but they also reflect broader characteristics we feel are common to many of us: striving for practicality, the art of creating something out of nothing, a touch of superstition, a fear of being deprived, caring through food…\u003Cbr \u002F>\nThese shared values tie the collection together conceptually. To unify it visually as well, it was essential that we met weekly to give each other feedback and align on materials and colors.\u003C\u002Fp>\n",{"variant":176,"images":1642,"_type":73},[1643,1647],{"_id":1644,"url":1645,"alt":18,"caption":18,"credit":18,"width":1602,"height":1646},713,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFragments-collection5.jpg",1464,{"_id":1648,"url":1649,"alt":18,"caption":18,"credit":18,"width":1518,"height":1650},717,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-4.jpg",974,{"questions":1652,"_type":45},[1653],{"question":1654,"answer":1655},"\u003Cp>What does belonging mean to you as a generation of designers influenced by both tradition and globalized design discourse?\u003C\u002Fp>\n","\u003Cp>Viki: When we were designing our booth for Stockholm, we reached a point where we could articulate that even though some Western countries are inspiring in terms of design culture, we can’t and don’t want to imitate that. We wanted to be authentic—to stand beside our work and show what’s realistically achievable today as an emerging designer from Hungary.\u003C\u002Fp>\n\u003Cp>It’s important to be aware of global contexts, but challenges, opportunities, markets, industries, and cultures are always site-specific. To represent our traditions—and through them, ourselves—on an international level, we first have to know and understand them deeply.\u003C\u002Fp>\n",{"variant":176,"images":1657,"_type":73},[1658,1662],{"_id":1659,"url":1660,"alt":18,"caption":18,"credit":18,"width":1518,"height":1661},715,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-5.jpg",486,{"_id":1663,"url":1664,"alt":18,"caption":18,"credit":18,"width":1665,"height":1666},716,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFragments-collection7.jpg",869,1304,{"questions":1668,"_type":45},[1669],{"question":1670,"answer":1671},"\u003Cp>Did the materials you chose already carry cultural or symbolic weight, or did meaning develop as you worked with them?\u003C\u002Fp>\n","\u003Cp>Balázs: Each of us approached our object from a unique perspective, so the materials held different levels of cultural or symbolic meaning. For example, Blanka’s cobbler’s stool incorporated decades-old leather scraps for the seat, which strongly influenced the design and concept. For some projects, like the “Úszka” wooden swimming ring by Rebi, it was especially important to use locally available materials, as there is existing knowledge in the local material culture regarding their crafting, which can serve as a good starting point in the design process.\u003C\u002Fp>\n",{"images":1673,"size":84,"_type":57},[1674],{"_id":1675,"url":1676,"alt":18,"caption":18,"credit":18,"width":1634,"height":1677},718,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFragments-collection3.jpg",1540,{"questions":1679,"_type":45},[1680],{"question":1681,"answer":1682},"\u003Cp>What’s a question you feel drawn to explore next through design?\u003C\u002Fp>\n","\u003Cp>Viki: We’d like to lay the groundwork for new projects through deeper research, focusing on Hungary’s industrial potential. This time, we want to center the manufacturer—their story, their technology, their materials.\u003Cbr \u002F>\nThere’s a favorite quote of ours:\u003Cbr \u002F>\n“…as if in Hungary, the modern design industry only ever had a forgotten past, but never a present.”\u003Cbr \u002F>\nIt’s from a book published nearly fifty years ago (József Vadas: From Design Industry to Industrial Design), but it still hits hard today—it feels painfully relevant as a designer. The urge to keep this conversation alive and work toward change is a powerful motivation for us.\u003C\u002Fp>\n",{"variant":1179,"images":1684,"_type":73},[1685,1688],{"_id":1686,"url":1687,"alt":18,"caption":18,"credit":18,"width":1665,"height":1666},719,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FNut-cracker-1.jpg",{"_id":1689,"url":1690,"alt":18,"caption":18,"credit":18,"width":1665,"height":1666},720,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FNut-cracker-2.jpg",{"questions":1692,"_type":45},[1693,1696],{"question":1694,"answer":1695},"\u003Cp>Who’s most likely to suggest a last-minute design change—and actually pull it off?\u003C\u002Fp>\n","\u003Cp>Each of us had our moment—while working on our first collection, last-minute ideas often made their way into the final design. That spontaneity might be one of the reasons why our collaboration feels so natural and smooth.\u003C\u002Fp>\n",{"question":1697,"answer":1698},"\u003Cp>Who’s the glue in the group—the one who keeps everyone grounded?\u003C\u002Fp>\n","\u003Cp>We’d say Eszti and Flóra—they’re the ones who hold the group together, especially during busy or challenging times. Their presence always lifts our spirits, and most of our meetings took place in Flóra’s lovely living room.\u003C\u002Fp>\n",{"questions":1700,"_type":45},[1701,1704],{"question":1702,"answer":1703},"\u003Cp>Who’s most likely to bring in a material or reference nobody’s ever heard of?\u003C\u002Fp>\n","\u003Cp>Rebi always brings in references no one else has thought of—her stories, especially from Transylvania and the traditions of older generations, are full of insight and inspiration.\u003C\u002Fp>\n",{"question":1705,"answer":1706},"\u003Cp>Who has the most chaotic workspace?\u003C\u002Fp>\n","\u003Cp>It must be Balázs and Blanka’s small workshop, but they always manage to find what they need.\u003C\u002Fp>\n",{"images":1708,"size":84,"_type":57},[1709],{"_id":901,"url":1710,"alt":18,"caption":18,"credit":18,"width":1518,"height":1650},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-2.jpg",{"questions":1712,"_type":45},[1713],{"question":1714,"answer":1715},"\u003Cp>If MAIII had a group playlist, who’s in charge of the music?\u003C\u002Fp>\n","\u003Cp>Viki has an exquisite taste in music—we often got to enjoy it when she drove us home after meetings or events.\u003C\u002Fp>\n",{"questions":1717,"_type":45},[1718],{"question":1719,"answer":1720},"\u003Cp>Who’s most likely to document everything?\u003C\u002Fp>\n","\u003Cp>No doubt, it’s Eszti. She’s the expert when it comes to filming and editing our Instagram reels.\u003C\u002Fp>\n",{"questions":1722,"_type":45},[1723],{"question":1724,"answer":1725},"\u003Cp>Who’s most likely to get emotionally attached to a prototype and refuse to change it?\u003C\u002Fp>\n","\u003Cp>It must be Roberta—she might start designing a bit later than the rest of us, but her work is spot-on from the very beginning!\u003C\u002Fp>\n",{"images":1727,"size":56,"_type":57},[1728],{"_id":1729,"url":1730,"alt":18,"caption":18,"credit":18,"width":1518,"height":1518},721,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-3.jpg",{"questions":1732,"_type":45},[1733],{"question":638,"answer":1734},"\u003Cp>We’re online too! Follow us on Instagram @maiiicollective and check out our website: maiiicollective.com\u003Cbr \u002F>\nStay tuned to see where we’ll show up next!\u003C\u002Fp>\n",{"_type":6,"_id":1736,"slug":1737,"name":1738,"index":1739,"date":1740,"thumbnails":1741,"description":1754,"footerImage":1755,"categories":1760,"sections":1762},325,"shaima-shamsi","Shaima Shamsi",14,"2025-04-09",{"quote":1742,"main":1743,"secondary":1749,"reverse":24},"\u003Cp>“The negotiation between belonging and alienation allows me to reflect on how identities are formed in these liminal spaces…”\u003C\u002Fp>\n",{"image":1744,"background":21,"fit":139},{"_id":1745,"url":1746,"alt":18,"caption":18,"credit":18,"width":1747,"height":1748},327,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fimage-366d2a55-88e0-4563-9edf-14a688e5a263.webp",867,1190,{"image":1750,"background":21,"fit":511},{"_id":1751,"url":1752,"alt":18,"caption":18,"credit":18,"width":1430,"height":1753},332,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FScreenshot-2026-01-29-at-11.33.00aa.jpg",903,"\u003Cp>Shaima Shamsi’s practice explores how movement and the passage of time leave traces of eroded belonging, forming mutated identities. She engages in material processes as a way of thinking through absence and the politics of framing erasure. Through installation, sculpture and mixed media, she probes tensions between strict literalism and emotional fragility.\u003C\u002Fp>\n",{"_id":1756,"url":1757,"alt":18,"caption":18,"credit":18,"width":1758,"height":1759},326,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5a.jpg",1517,1490,[1761],{"_id":127,"slug":146,"name":147},[1763,1768,1772,1779,1784,1791,1796,1801,1805,1810,1819,1824,1834,1839,1844,1851,1856],{"questions":1764,"_type":45},[1765],{"question":1766,"answer":1767},"\u003Cp>What’s your name and where are you from\u002Fbased?\u003C\u002Fp>\n","\u003Cp>Hi, my name is Shaima Shamsi. I was born in Jeddah, Saudi Arabia, and I am currently based in Abu Dhabi.\u003C\u002Fp>\n",{"questions":1769,"_type":45},[1770],{"question":1423,"answer":1771},"\u003Cp>My practice is observed through various materials exploring themes of belonging between emotional geographies and displacement by systemic territories. I often lean into the ordinary forming raw tensions between strict literalism and emotional fragility in my works. Which come together in the form of installations, sculptures, paintings, video works, fabric works, as well as objects.\u003C\u002Fp>\n",{"images":1773,"size":84,"_type":57},[1774],{"_id":1775,"url":1776,"alt":18,"caption":18,"credit":18,"width":1777,"height":1778},766,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-8.jpg",2150,1233,{"questions":1780,"_type":45},[1781],{"question":1782,"answer":1783},"\u003Cp>Are your sculpted works about building objects or furniture, or is it more about constructing meaning and symbolism through material?\u003C\u002Fp>\n","\u003Cp>My works are more about constructing meaning and symbolism through explorations of material and language. While they may take the form of objects or structures, they are deeply rooted in exploring how materials at times found and other times searched for can carry emotional weight and translate it into collective or individual narratives. This process allows me to reflect on the pluralities of identity formed through movement across geographies and held together by memory.\u003C\u002Fp>\n",{"images":1785,"size":84,"_type":57},[1786],{"_id":1787,"url":1788,"alt":18,"caption":18,"credit":18,"width":1789,"height":1790},767,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-7-scaled.jpg",1968,2560,{"questions":1792,"_type":45},[1793],{"question":1794,"answer":1795},"\u003Cp>Some of your work often has feelings linked to childhood. Is nostalgia part of your process?\u003C\u002Fp>\n","\u003Cp>Yes, nostalgia does play a role in my process. My childhood in Jeddah, a beautiful city on the Red Sea coastal plain, has deeply influenced my work. I often draw inspiration from personal memories tied to my upbringing and family, channeling these experiences through the language, time and form. Today, my family is spread across different places, and when we gather, we often reminisce about Jeddah with a soft longing. These collective memories and the emotional weight they carry are integral to how I approach my practice.\u003C\u002Fp>\n",{"questions":1797,"_type":45},[1798],{"question":1799,"answer":1800},"\u003Cp>Your work explores how identities mutate through movement between geographies. How do you personally experience this, and how does that shape your work?\u003C\u002Fp>\n","\u003Cp>Having lived in Jeddah, London, Dubai, Bahrain, and more recently Abu Dhabi, I find myself forming an “in-between” space neither fully rooted in one culture nor entirely detached from another. While I am ethnically Indian, my connection to India exists more through inherited histories, language, and traditions rather than direct habitation. Each country I’ve lived in has carried its own imprints and displacements, shaping an evolving sense of self formed through familiarity with estrangement. The negotiation between belonging and alienation allows me to reflect on how systemic structures, cultural mutations, and personal memories form these transitions, and how identities are formed in these liminal spaces.\u003C\u002Fp>\n",{"images":1802,"size":84,"_type":57},[1803],{"_id":568,"url":1804,"alt":18,"caption":18,"credit":18,"width":1789,"height":1790},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-7-scaled.jpg",{"questions":1806,"_type":45},[1807],{"question":1808,"answer":1809},"\u003Cp>In spaces where your work coexists with architecture or nature, how do you think the\u003Cbr \u002F>\nenvironment changes its reading\u002Fmeaning?\u003C\u002Fp>\n","\u003Cp>When my work is placed within nature, the surroundings become an integral part of its meaning and experience. It’s no longer just about the piece itself but about how it interacts with the landscape and the people connected to that space. One of my works, Tanafaas, is situated in a farm in AlUla. Its design draws inspiration from biomimicry and uses palm fronds sourced from the farms in AlUla. The natural environment not only shapes how the work is perceived but also reinforces its themes of interconnectedness, heritage, and community.\u003C\u002Fp>\n",{"variant":1116,"images":1811,"_type":73},[1812,1816],{"_id":1813,"url":1814,"alt":18,"caption":18,"credit":18,"width":1815,"height":1790},769,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-4-scaled.jpg",1716,{"_id":1817,"url":1818,"alt":18,"caption":18,"credit":18,"width":1815,"height":1790},770,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-7-scaled.jpg",{"questions":1820,"_type":45},[1821],{"question":1822,"answer":1823},"\u003Cp>In your practice, movement is a recurring theme; do you think of your works as still objects or as things in motion, conceptually or emotionally? Do you think over time, the meaning changes?\u003C\u002Fp>\n","\u003Cp>You are right, movement is a recurring theme that is both consciously and unconsciously embodied in my work. There is a sensitivity with which I approach my practice, I am engaged in a philosophical investigation of the relationship between repetition and movement. For me, repetition is not merely a process but a way to explore rhythm, continuity, and transformation. In terms of meaning, I find that my works themselves don’t particularly change over time; instead, It’s my perspective that evolves. When I look back at my earlier pieces, they serve as markers of how much or how little I have changed. This reflective process allows me to trace my own experiences of my past and present.\u003C\u002Fp>\n",{"variant":1179,"images":1825,"_type":73},[1826,1829],{"_id":1827,"url":1828,"alt":18,"caption":18,"credit":18,"width":1815,"height":1790},773,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-9-scaled.jpg",{"_id":1830,"url":1831,"alt":18,"caption":18,"credit":18,"width":1832,"height":1833},772,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-5.jpg",1980,1311,{"questions":1835,"_type":45},[1836],{"question":1837,"answer":1838},"\u003Cp>Outside of work, is there an object that you carry with you everywhere you go?\u003C\u002Fp>\n","\u003Cp>Objects have always intrigued me, I realize now my father had a big role to play in this. He has always looked at objects with a patient curiosity and collects them as a sort of hoarder. He probably lended me my patience to appreciate objects. However I don’t carry any objects with me.\u003C\u002Fp>\n",{"questions":1840,"_type":45},[1841],{"question":1842,"answer":1843},"\u003Cp>What do you like doing when you need to recharge?\u003C\u002Fp>\n","\u003Cp>When I need to recharge, I often find myself seeking time outdoors either among trees, by the mountains or in water, ideally in nature where its vastness exceeds my thoughts. Even though I make a lot of my work in solitude I am constantly absorbing my surroundings and being in nature really helps me connect with myself.\u003C\u002Fp>\n",{"images":1845,"size":56,"_type":57},[1846],{"_id":1847,"url":1848,"alt":18,"caption":18,"credit":18,"width":1849,"height":1850},774,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-4.jpg",1420,1992,{"questions":1852,"_type":45},[1853],{"question":1854,"answer":1855},"\u003Cp>Is there something you haven’t explored in your work yet that you’re curious to try?\u003C\u002Fp>\n","\u003Cp>I’m curious about glass at the moment and interested in learning more about glass-blowing. I really appreciate its fragility, strength, transparency and adaptability.\u003C\u002Fp>\n",{"questions":1857,"_type":45},[1858],{"question":638,"answer":1859},"\u003Cp>You can find me mostly holding a cup of coffee in my studio in Abu Dhabi or working with needles for an upcoming show in May. You can also find more of my works on my website www.shaimashamsi.com\u003C\u002Fp>\n",{"_type":6,"_id":1861,"slug":1862,"name":1863,"index":1864,"date":1865,"thumbnails":1866,"description":1877,"footerImage":1878,"categories":1881,"sections":1885},333,"gypsandconcrete","Gypsandconcrete",15,"2025-04-11",{"quote":1867,"main":1868,"secondary":1872,"reverse":24},"\u003Cp>“I’ve always been fascinated by discovering new potential in things others might overlook…”\u003C\u002Fp>\n",{"image":1869,"background":21,"fit":22},{"_id":1870,"url":1871,"alt":18,"caption":18,"credit":18,"width":653,"height":653},334,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2a.jpg",{"image":1873,"background":137,"fit":139},{"_id":1874,"url":1875,"alt":18,"caption":18,"credit":18,"width":1876,"height":1430},339,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1aaa.jpg",1120,"\u003Cp>Lado Lomitashvili (b. 1994, Tbilisi, Georgia) is a Tbilisi-based architect and multidisciplinary artist. He studied Architecture at the Tbilisi State Academy of Arts and Contextual Design at the Design Academy Eindhoven. His practice moves fluidly between architecture and visual art, often creating site-specific installations shaped by carefully chosen materials and spatial research. In 2020, he founded Studio Gypsandconcrete in Tbilisi, a platform focused on architecture, spatial design, and conceptual furniture, where he continues to explore the relationship between space and materiality.\u003C\u002Fp>\n",{"_id":1879,"url":1880,"alt":18,"caption":18,"credit":18,"width":569,"height":569},337,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fp7w0qn0udwltifd66pct_1024x1024.webp",[1882],{"_id":644,"slug":1883,"name":1884},"architect","Architect",[1886,1890,1901,1909,1914,1919,1924,1933,1938,1943,1948,1953,1958,1964,1969,1974,1979,1984,1993,1998,2004],{"questions":1887,"_type":45},[1888],{"question":1766,"answer":1889},"\u003Cp>My name is Lado Lomitashvili, founder of Studio Gypsandconcrete, and I’m from Tbilisi, Georgia, where I’m currently based.\u003C\u002Fp>\n",{"variant":176,"images":1891,"_type":73},[1892,1897],{"_id":1893,"url":1894,"alt":18,"caption":18,"credit":18,"width":1895,"height":1896},467,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2222e.jpg",2432,1654,{"_id":1898,"url":1899,"alt":18,"caption":18,"credit":18,"width":1900,"height":1790},468,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2222222229-scaled.jpg",1707,{"questions":1902,"_type":45},[1903,1906],{"question":1904,"answer":1905},"\u003Cp>Can you describe in a few words what you do?\u003C\u002Fp>\n","\u003Cp>I move between art, architecture, and design — they all kind of blend together in my practice. When I was studying architecture, I started creating a lot of site-specific installations, and that naturally brought artistic elements into my architectural thinking. Later, when I shifted more towards design, I noticed I was approaching it in a more artistic, experimental way. So now, whether I’m building a space or making an object, it always sits somewhere in between.\u003C\u002Fp>\n",{"question":1907,"answer":1908},"\u003Cp>Where does the name Gypsandconcrete come from? Does it have a history?\u003C\u002Fp>\n","\u003Cp>Actually, the name came way before the studio — it was originally just my Instagram username. One day, before I even thought of starting a studio, I was in my workshop and noticed a bag of gypsum lying on top of a concrete block. I just loved that combination — not only visually, but also in terms of how these two materials behave. They’re very different, but they can both shift between solid and soft states. Later, when I officially started the studio, I realized that gypsum (plaster) and concrete are often the two materials I find already present in the spaces I work with. They kind of became a symbol of the raw context I step into before adding my own layer of design.\u003C\u002Fp>\n",{"questions":1910,"_type":45},[1911],{"question":1912,"answer":1913},"\u003Cp>Your pieces often respond to the spaces they exist in, how do you begin translating a space into an object?\u003C\u002Fp>\n","\u003Cp>It usually starts with understanding the function of the space — what kind of place it’s going to become. Is it a bookstore, a restaurant, a concept store? That already sets the tone for how I start thinking. Then I dive into the cultural or emotional world behind it. For example, I once designed furniture for a Chinese restaurant and took inspiration from well-known elements of Chinese culture. The tables were shaped like rice terraces, the sconces resembled traditional conical hats, and even the walls were covered in root veneer — since roots are commonly used in Chinese cuisine. In another case, for a coffee shop, the entire color palette was based on the roasting process of coffee beans. It started with raw greenish tones, moved through warm carrot-orange, into deep browns, and finally black — just like the stages from raw to roasted. Once I had the color palette, I started collecting materials that would match these tones — things that could represent brown, black, and everything in between. For instance, I found specific textures and finishes that resembled coffee beans, which really tied the whole concept together. These kinds of translations help create a deeper connection between the space and the experience.\u003C\u002Fp>\n",{"image":1915,"variant":94,"background":21,"secondImage":24,"_type":98},{"_id":510,"url":1916,"alt":18,"caption":18,"credit":18,"width":1917,"height":1918},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-5.jpg",1173,1759,{"questions":1920,"_type":45},[1921],{"question":1922,"answer":1923},"\u003Cp>How has your relationship with materials changed since starting the UPCYCLED project? Do you find yourself seeing potential in things others would discard?\u003C\u002Fp>\n","\u003Cp>Even before the UPCYCLED project, I was always working with found objects, especially in site-specific installations. I would take materials that seemed discarded and give them new life by recontextualizing them into my sculptures. I’ve always been fascinated by discovering new potential in things others might overlook. Nowadays, sustainability is a key factor for me, and I try to integrate that into my practice. For example, I’ve created pieces where a single wooden plank is cut in a specific way, so that every piece serves a functional role in the design, contributing to the overall structural integrity of the piece.\u003C\u002Fp>\n",{"variant":176,"images":1925,"_type":73},[1926,1930],{"_id":1927,"url":1928,"alt":18,"caption":18,"credit":18,"width":1917,"height":1929},725,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-5.jpg",1473,{"_id":1931,"url":1932,"alt":18,"caption":18,"credit":18,"width":1917,"height":1929},726,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fzoom.jpg",{"questions":1934,"_type":45},[1935],{"question":1936,"answer":1937},"\u003Cp>Have you ever designed a piece that changed the way a space felt more than you expected?\u003C\u002Fp>\n","\u003Cp>The objects I design are mostly made for specific spaces. When I look at them in the workshop, in progress state, they often seem much bigger than I imagined. But once they’re placed in the space they were created for, they always seem to find their place as if they belong there. It’s almost like they adapt to the surroundings, and suddenly, they’re in perfect harmony with the environment. On the other hand, I created a table entirely from sanded glass, almost as light as air, with a very subtle color palette. It had a very different effect. Even though the piece looked calm and minimalist, when placed in the space, it had a huge presence. The transparency and lightness made it almost float in the room, subtly changing the space without overwhelming it. It was as though the table became part of the air, playing a significant role while remaining barely noticeable.\u003C\u002Fp>\n",{"images":1939,"size":84,"_type":57},[1940],{"_id":1941,"url":1942,"alt":18,"caption":18,"credit":18,"width":1665,"height":353},727,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-6.jpg",{"questions":1944,"_type":45},[1945],{"question":1946,"answer":1947},"\u003Cp>Which piece felt like a turning point in your practice?\u003C\u002Fp>\n","\u003Cp>I can’t really think of a single object that marked a clear turning point in my practice. I’ve never been afraid to try new materials—on the contrary, I’m constantly looking to explore and understand them better, so I can expand my design vocabulary when needed. One thing that feels more like a consistent statement in my work is my approach to color. If I need a specific color in a piece, I always try to find a material that already has that color, rather than using paint. That decision often guides the entire material selection and design process.\u003C\u002Fp>\n",{"images":1949,"size":84,"_type":57},[1950],{"_id":1951,"url":1952,"alt":18,"caption":18,"credit":18,"width":1917,"height":1929},728,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-3.jpg",{"questions":1954,"_type":45},[1955],{"question":1956,"answer":1957},"\u003Cp>Is there a material you haven’t worked with yet that you’re curious to try? What would you make with it?\u003C\u002Fp>\n","\u003Cp>I’ve been really interested in working with blown glass for a long time. The fascination started when I was studying at the Design Academy Eindhoven—we had a short workshop with glass, and since then, the material stayed in my mind. I imagine using it for lighting elements and other sculptural details. There’s something magical about its transparency, fragility, and the way it plays with light. Unfortunately, there’s no glassblowing workshop in Georgia at the moment, so I haven’t had the opportunity to try it again. But the ideas are slowly building up in my head—I’m collecting thoughts and references, waiting for the right time and place to make them real.\u003C\u002Fp>\n",{"images":1959,"size":84,"_type":57},[1960],{"_id":1518,"url":1961,"alt":18,"caption":18,"credit":18,"width":1962,"height":1963},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fglass.jpg",1544,1242,{"questions":1965,"_type":45},[1966],{"question":1967,"answer":1968},"\u003Cp>Do you have a favorite useless object you refuse to get rid of?\u003C\u002Fp>\n","\u003Cp>Honestly, I collect a lot of objects. Sometimes it’s because I find a construction detail interesting, sometimes it’s the pattern or texture of the material that catches my eye, and other times it’s simply a leftover from a previous process. These things might not be functional on their own, but they carry a kind of memory or information for me. Maybe they don’t have a clear purpose today, but I often feel that one day, they’ll find their place in a future project. They’re like quiet reminders of potential.\u003C\u002Fp>\n",{"images":1970,"size":84,"_type":57},[1971],{"_id":1972,"url":1973,"alt":18,"caption":18,"credit":18,"width":1917,"height":1929},730,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Finspo.jpg",{"questions":1975,"_type":45},[1976],{"question":1977,"answer":1978},"\u003Cp>Has a mistake ever made something better than your original plan?\u003C\u002Fp>\n","\u003Cp>I’m definitely not afraid of mistakes. Without them, the process would feel too rigid and, honestly, a bit boring. Mistakes often open up unexpected directions—they force you to rethink, adapt, and sometimes even discover better solutions than what you originally planned. I try to stay open to those moments, because they usually bring more character to the final piece. In a way, they’re not really mistakes—they’re just part of the path.\u003C\u002Fp>\n",{"questions":1980,"_type":45},[1981],{"question":1982,"answer":1983},"\u003Cp>Looking at your work, the material choice, the construction, it evokes purity. Are you connected to the word pure?\u003C\u002Fp>\n","\u003Cp>In a way, yes. For me, purity isn’t just about aesthetics—it’s more about clarity of thought. If I don’t understand the concept behind what I’m doing, I can’t move forward in the process. Everything I make needs to have a kind of inner truth to it—whether it’s the function, the story behind the materials, or the context it’s made for. That’s probably what creates this feeling of purity. It’s not about being minimal or clean, it’s about being honest with the design.\u003C\u002Fp>\n",{"variant":176,"images":1985,"_type":73},[1986,1990],{"_id":1987,"url":1988,"alt":18,"caption":18,"credit":18,"width":1962,"height":1989},733,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F100.jpg",1940,{"_id":1991,"url":1992,"alt":18,"caption":18,"credit":18,"width":1665,"height":1666},734,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-4.jpg",{"questions":1994,"_type":45},[1995],{"question":1996,"answer":1997},"\u003Cp>If you had an unlimited budget\u002Fspace to create anything, what would it be?\u003C\u002Fp>\n","\u003Cp>My work usually revolves around smaller, intimate spaces—I’m not really drawn to giant, oversized projects. The challenge of working within certain limits, like budget, is often where the real magic happens for me. It pushes me to think more creatively and find unexpected solutions. For me, it’s not about the size of the project, but the way it resonates with the space it’s in.\u003C\u002Fp>\n",{"images":1999,"size":84,"_type":57},[2000],{"_id":2001,"url":2002,"alt":18,"caption":18,"credit":18,"width":2003,"height":869},735,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F300dpi-2.jpg",528,{"questions":2005,"_type":45},[2006],{"question":638,"answer":2007},"\u003Cp>Right now, you can find my work on Instagram at @studiogypsandconcrete for studio-related projects and @gypsandconcrete for personal updates. My website is still under construction, but once it’s ready, it will feature more information about my work and future projects.\u003C\u002Fp>\n",{"_type":6,"_id":332,"slug":2009,"name":2010,"index":2011,"date":2012,"thumbnails":2013,"description":2025,"footerImage":2026,"categories":2030,"sections":2032},"orange-terry","Orange Terry",16,"2025-04-13",{"quote":2014,"main":2015,"secondary":2020,"reverse":24},"\u003Cp>“I wanted to show the inner tension and contradiction I feel as a designer…”\u003C\u002Fp>\n",{"image":2016,"background":137,"fit":139},{"_id":2017,"url":2018,"alt":18,"caption":18,"credit":18,"width":653,"height":2019},346,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FPlyStation-2025_Image-1aa-1.jpg",1523,{"image":2021,"background":21,"fit":22},{"_id":2022,"url":2023,"alt":18,"caption":18,"credit":18,"width":357,"height":2024},345,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FPlyStation-in-Bound-Kowloon-2025_Image-4a.jpg",1001,"\u003Cp>test\u003C\u002Fp>\n",{"_id":2027,"url":2028,"alt":18,"caption":18,"credit":18,"width":255,"height":2029},343,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FPortrait-photographed-by-Stephanie-Tang-2022a.jpg",1499,[2031],{"_id":127,"slug":146,"name":147},[2033,2037,2042,2046,2057,2062,2068,2073,2078,2086,2091,2096,2100,2109,2114,2119,2126,2131,2136,2141,2151],{"questions":2034,"_type":45},[2035],{"question":522,"answer":2036},"\u003Cp>Hi, my name is OrangeTerry. I’m based in Hong Kong.\u003C\u002Fp>\n",{"questions":2038,"_type":45},[2039],{"question":2040,"answer":2041},"\u003Cp>What does Orange Terry mean?\u003C\u002Fp>\n","\u003Cp>“OrangeTerry” was just a random name that came up during my university days. It doesn’t really have a specific meaning.\u003C\u002Fp>\n",{"questions":2043,"_type":45},[2044],{"question":1904,"answer":2045},"\u003Cp>Rooted in a fascination with overlooked and discarded materials, my work challenges traditional design paradigms by blending sustainability, functionality, and conceptual creativity.\u003C\u002Fp>\n",{"first":2047,"second":2051,"third":2054,"variant":94,"_type":206},{"_id":968,"url":2048,"alt":18,"caption":18,"credit":18,"width":2049,"height":2050},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-2.jpg",523,783,{"_id":2052,"url":2053,"alt":18,"caption":18,"credit":18,"width":2049,"height":2050},685,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F13.jpg",{"_id":2055,"url":2056,"alt":18,"caption":18,"credit":18,"width":2049,"height":2050},686,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-3.jpg",{"questions":2058,"_type":45},[2059],{"question":2060,"answer":2061},"\u003Cp>What drew you to post-industrial design in the first place? And what does it mean to you?\u003C\u002Fp>\n","\u003Cp>“Post-industrial design” is a term I came up with to describe my approach. I work with objects that already exist—I don’t create from scratch. Instead, I source existing materials, compose, reinterpret, and recontextualize them.\u003C\u002Fp>\n\u003Cp>Growing up, I was drawn to second-hand items. Whether it was hand-me-down toys from relatives or thrifted clothes later on, the process always felt like a treasure hunt—full of unexpected joy.\u003C\u002Fp>\n\u003Cp>When I started studying design, I kept asking: why are we still creating new products? Are we truly solving problems, or are we just responding to issues we’ve created ourselves?\u003C\u002Fp>\n\u003Cp>To me, no product is ever perfect, because the standards of industrial design are constantly shifting. That’s why I prefer to begin with found objects—shaping design from what already exists, instead of inventing from scratch.\u003C\u002Fp>\n\u003Cp>It starts with the everyday: reflecting on it, transforming it, and recording it. That’s how I see post-industrial design for now, a definition that may shift as I continue to grow and explore.\u003C\u002Fp>\n",{"images":2063,"size":84,"_type":57},[2064],{"_id":2065,"url":2066,"alt":18,"caption":18,"credit":18,"width":2067,"height":1036},687,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-3.jpg",635,{"questions":2069,"_type":45},[2070],{"question":2071,"answer":2072},"\u003Cp>Are there any other design schools that influence you specifically?\u003C\u002Fp>\n","\u003Cp>I’ve always admired Design Academy Eindhoven and was even accepted into their Master’s program—unfortunately, COVID disrupted those plans.\u003C\u002Fp>\n\u003Cp>Since then, I’ve been creating more spontaneously, using my work to capture inspiration from everyday life. This ongoing process has been key to developing a design methodology that feels true to me.\u003C\u002Fp>\n",{"questions":2074,"_type":45},[2075],{"question":2076,"answer":2077},"\u003Cp>How do you choose your surplus and scrap materials, do they find you, or do you look for them with something in mind?\u003C\u002Fp>\n","\u003Cp>I  love wandering the streets without a fixed route, simply observing the objects around me—those in use, about to be used, abandoned, brand new, or randomly assembled.\u003C\u002Fp>\n\u003Cp>Most of these objects appear through human activity, and by observing them, I can often imagine how they came to be or how they were put together. The entire process feels organic, guided more by curiosity than by any set plan.\u003C\u002Fp>\n",{"variant":64,"images":2079,"_type":73},[2080,2083],{"_id":2081,"url":2082,"alt":18,"caption":18,"credit":18,"width":2049,"height":2050},688,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F14.jpg",{"_id":2084,"url":2085,"alt":18,"caption":18,"credit":18,"width":2049,"height":2050},689,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F15.jpg",{"questions":2087,"_type":45},[2088],{"question":2089,"answer":2090},"\u003Cp>Is there a material you once overlooked or resisted that’s now core to your practice?\u003C\u002Fp>\n","\u003Cp>High density foam was a material I avoided for a long time. I had unpleasant memories connected to it. It reminded me of the early stages of studying product design. One of the most vivid and difficult moments from design school was having to carve a spoon out of high-density foam, just to practice rapid prototyping. The material felt fragile, and to me, it also represented something short-lived and easily thrown away.\u003C\u002Fp>\n\u003Cp>But recently, I started working with it again. I made a few pieces using high-density foam, and something surprising happened.  When waste materials met high-density foam, a symbol of the beginning of industrial design, it created a sense of time folding in on itself. I became fascinated by that moment.\u003C\u002Fp>\n",{"images":2092,"size":84,"_type":57},[2093],{"_id":2094,"url":2095,"alt":18,"caption":18,"credit":18,"width":2067,"height":1036},690,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-1.jpg",{"questions":2097,"_type":45},[2098],{"question":1258,"answer":2099},"\u003Cp>To me, who I am and what I create are inseparable. My work is an archive of my personal development.\u003C\u002Fp>\n\u003Cp>For example, the Singular Stack series came from my recent reflections on sustainable design. In a way, I see so-called “sustainable design” as a way of finding joy in hardship. In a world full of excess, what a designer can truly change feels very limited. Yet there’s a kind of public expectation placed on designers, almost a myth around eco-conscious design.\u003C\u002Fp>\n\u003Cp>The Singular Stack system deliberately uses unsustainable methods to make a chair. Multiple chairs that could have served many people are stacked into a chair for just one person. I wanted to show the inner tension and contradiction I feel as a designer.\u003C\u002Fp>\n\u003Cp>At the same time, I hope people don’t over-analyze it. Some things are simply meant to be felt.\u003C\u002Fp>\n",{"variant":176,"images":2101,"_type":73},[2102,2106],{"_id":2103,"url":2104,"alt":18,"caption":18,"credit":18,"width":1329,"height":2105},691,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-3.jpg",1203,{"_id":2107,"url":2108,"alt":18,"caption":18,"credit":18,"width":1329,"height":2105},692,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-2.jpg",{"questions":2110,"_type":45},[2111],{"question":2112,"answer":2113},"\u003Cp>Do you ever think of your work as a form of protest?\u003C\u002Fp>\n","\u003Cp>I don’t see my work as a form of protest, because there’s no real intention to oppose. Instead, I focus on proposing alternative possibilities. The aim isn’t to reject existing approaches, but to embrace what else could be.\u003C\u002Fp>\n",{"questions":2115,"_type":45},[2116],{"question":2117,"answer":2118},"\u003Cp>Has someone ever offered a meaning or function for one of your pieces that completely shifted how you saw it?\u003C\u002Fp>\n","\u003Cp>I always look forward to how people interpret my work. Every new reading or use feels like the beginning of a new chapter in post-industrial design.\u003C\u002Fp>\n",{"images":2120,"size":139,"_type":57},[2121],{"_id":2122,"url":2123,"alt":18,"caption":18,"credit":18,"width":2124,"height":2125},693,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-4.jpg",1188,787,{"questions":2127,"_type":45},[2128],{"question":2129,"answer":2130},"\u003Cp>If there was a soundtrack to your pieces, what would it be?\u003C\u002Fp>\n","\u003Cp>There’s no definite answer—it really depends on how I feel at the moment. Right now, I’m listening to Saigo no Rakuen by Haruomi Hosono.\u003C\u002Fp>\n",{"images":2132,"size":56,"_type":57},[2133],{"_id":2134,"url":2135,"alt":18,"caption":18,"credit":18,"width":2067,"height":1123},699,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-2.jpg",{"questions":2137,"_type":45},[2138],{"question":2139,"answer":2140},"\u003Cp>What do you think your work offers the audience?\u003C\u002Fp>\n","\u003Cp>What I’m offering is more like a monologue—an inner dialogue I’m sharing with others. It’s also a personal challenge, a growing collection of thoughts and reflections. I don’t have a one-size-fits-all approach, but rather different points of view and observations that change over time.\u003C\u002Fp>\n",{"variant":176,"images":2142,"_type":73},[2143,2148],{"_id":2144,"url":2145,"alt":18,"caption":18,"credit":18,"width":2146,"height":2147},695,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F16.jpg",697,1043,{"_id":2149,"url":2150,"alt":18,"caption":18,"credit":18,"width":2146,"height":2147},696,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F17.jpg",{"questions":2152,"_type":45},[2153],{"question":638,"answer":2154},"\u003Cp>I’m currently reachable through Instagram and email. My website is under construction and will be launching soon.\u003C\u002Fp>\n",{"_type":6,"_id":2156,"slug":2157,"name":2158,"index":2159,"date":2160,"thumbnails":2161,"description":2025,"footerImage":2173,"categories":2176,"sections":2178},347,"347-2","Diskursiv",17,"2025-04-15",{"quote":2162,"main":2163,"secondary":2168,"reverse":24},"\u003Cp>“For us, preserving discussions means encouraging reflection on one’s own position…”\u003C\u002Fp>\n",{"image":2164,"background":21,"fit":22},{"_id":2165,"url":2166,"alt":18,"caption":18,"credit":18,"width":2167,"height":1790},350,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FDiskursiv-models-07-Simon-Oberhofer-scaled.jpg",1920,{"image":2169,"background":21,"fit":511},{"_id":2170,"url":2171,"alt":18,"caption":18,"credit":18,"width":2172,"height":1790},348,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2023_S-Oberhofer_COLORS_01-scaled.jpg",2048,{"_id":2174,"url":2175,"alt":18,"caption":18,"credit":18,"width":528,"height":503},736,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fportrait.jpg",[2177],{"_id":644,"slug":1883,"name":1884},[2179,2184,2189,2194,2199,2206,2211,2216,2221,2226,2231,2236,2241,2246,2251,2256,2261],{"questions":2180,"_type":45},[2181],{"question":2182,"answer":2183},"\u003Cp>Who is behind DISKURSIV, and where are you currently based?\u003C\u002Fp>\n","\u003Cp>Diskursiv consists of six members: Adna and Ajna Babahmetović (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fajnaadna\u002F\">@ajnaadna\u003C\u002Fa>), Michael Hafner and Katharina Hohenwarter (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fstudiobonfim_\u002F\">@Studio Bonfim\u003C\u002Fa>), Philipp Sternath (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fspargelhof_sternath\u002F\">@Spargelhof Sternath\u003C\u002Fa>) and Julian Brües. We are five architects and one cultural economist. As an association, we work between Graz, Vienna and Wolfsberg in Austria, with respective areas of interest in Bosnia, Germany and Portugal.\u003C\u002Fp>\n",{"questions":2185,"_type":45},[2186],{"question":2187,"answer":2188},"\u003Cp>How would you describe DISKURSIV and what you aim to explore through it?\u003C\u002Fp>\n","\u003Cp>Diskursiv seeks to examine current and practical areas of tension in architecture. We are an association that focuses on the internal problem areas of architecture, which are to be dealt with in an interdisciplinary framework.\u003C\u002Fp>\n",{"images":2190,"size":84,"_type":57},[2191],{"_id":2192,"url":2193,"alt":18,"caption":18,"credit":18,"width":528,"height":503},737,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-5.jpg",{"questions":2195,"_type":45},[2196],{"question":2197,"answer":2198},"\u003Cp>How do you see the relationship between architectural practice, exhibition-making, programming, and publishing?\u003C\u002Fp>\n","\u003Cp>Since we are young architects, we looked for opportunities to create something that would follow our own conditions. That is why we started making exhibitions. This allowed us to design something temporarily without taking the classic route of an architectural project.\u003Cbr \u002F>\nAlongside our work for the association, we take part in competitions, accept private commissions and teach at universities.\u003Cbr \u002F>\nIn our view, the three points mentioned go hand in hand – our exhibitions and publications enable us to engage with architecture. As a result of this work, we come into contact with international offices and architectural researchers, which broadens our horizons and influences our designs.\u003C\u002Fp>\n",{"images":2200,"size":84,"_type":57},[2201],{"_id":2202,"url":2203,"alt":18,"caption":18,"credit":18,"width":2204,"height":2205},738,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-5.jpg",1049,1434,{"questions":2207,"_type":45},[2208],{"question":2209,"answer":2210},"\u003Cp>A recent example of your work is the publication COLOURS , what does it aim to uncover or question?\u003C\u002Fp>\n","\u003Cp>Color has always been a powerful tool in architecture: it can influence perceptions of space and form, convey meaning and intention and guide the viewer’s sensory experience. However, it has lost importance in contemporary architectural practice and teaching. This volume explores the discipline’s shifting attitudes toward color and its use by architects today. Approaching the topic on a theoretical level, the contributors stress color’s potential impact and make an impassioned case for its return to building discourse. Against the dogma of the universal white box, they advocate for color’s rediscovery as a central instrument of architectural practice.\u003C\u002Fp>\n",{"images":2212,"size":84,"_type":57},[2213],{"_id":2214,"url":2215,"alt":18,"caption":18,"credit":18,"width":528,"height":1689},739,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fprocess2-colours.jpg",{"questions":2217,"_type":45},[2218],{"question":2219,"answer":2220},"\u003Cp>Your projects are often quite conceptual, do they involve objects in the traditional sense, or are you more interested in producing objects in a theoretical or discursive way?\u003C\u002Fp>\n","\u003Cp>It could certainly be said that the objects in our exhibition are produced in a theoretical or discursive way. For the Colours exhibition, our approach was to design ‘colourless’ displays. Furthermore, our objects are always intended to influence or change the space. For the exhibition in question, we developed an interest in reflection, transparency and the refraction of light by building prototypes and testing materials.\u003C\u002Fp>\n",{"images":2222,"size":84,"_type":57},[2223],{"_id":2224,"url":2225,"alt":18,"caption":18,"credit":18,"width":528,"height":503},740,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-3.jpg",{"questions":2227,"_type":45},[2228],{"question":2229,"answer":2230},"\u003Cp>Your practice involves material reuse and re-contextualisation. What does it mean to you to extend the life of a material?\u003C\u002Fp>\n","\u003Cp>On the one hand, it is essential these days to plan for the further use of materials in temporary designs. And on the other hand, we can honestly say that we are an association that depends on funding and sponsorship. That is why reuse and recontextualisation are essential for us.\u003C\u002Fp>\n",{"questions":2232,"_type":45},[2233],{"question":2234,"answer":2235},"\u003Cp>Beyond sustainability, do you see reuse as a form of architectural critique or storytelling?\u003C\u002Fp>\n","\u003Cp>We don’t deal explicitly with storytelling. Rather, we are concerned with dealing honestly with the problem. We still had a lot of MDF left over from our models exhibition. We used this material to make the feet of our Colors displays. Later, we were asked to participate in the Klima Biennale in Vienna with an object for Never-At-Home: Gallery 57 – which was transformed into a restaurant by our friends’ children. All from the same stock of MDF.\u003Cbr \u002F>\nThe criticism of architecture should arise more from our content.\u003C\u002Fp>\n",{"questions":2237,"_type":45},[2238],{"question":2239,"answer":2240},"\u003Cp>Do exhibitions allow you to engage with architectural questions that traditional commissions don’t? What kinds of freedoms or limitations come with that format?\u003C\u002Fp>\n","\u003Cp>Yes, one freedom we have is that we can determine our topics and results ourselves from ‘zero’. We sit, so to speak, in front of a blank sheet of paper and can, may, must and want to do everything ourselves.\u003Cbr \u002F>\nWe get to build, design, moderate, edit and publish.\u003Cbr \u002F>\nOne restriction is – as with actual building – financing. We write many funding applications, but not all of them are approved. The frustration threshold is affected in a similar way to traditional commissions.\u003C\u002Fp>\n",{"images":2242,"size":84,"_type":57},[2243],{"_id":2244,"url":2245,"alt":18,"caption":18,"credit":18,"width":528,"height":503},741,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-6.jpg",{"questions":2247,"_type":45},[2248],{"question":2249,"answer":2250},"\u003Cp>Do you consider your work a form of archiving? What does it mean to preserve a discussion rather than a finished object?\u003C\u002Fp>\n","\u003Cp>We call this form of archiving – conserving. In dealing with our topics, we observe and record trends that we identify in current architectural discourse. For us, preserving discussions means encouraging reflection on one’s own position. It is not really possible for us to archive the finished object because we do not have a suitable storage area. In addition, the object is mostly used by us to impart knowledge.\u003C\u002Fp>\n",{"questions":2252,"_type":45},[2253],{"question":2254,"answer":2255},"\u003Cp>Have you found yourself returning to the same forms, materials, or techniques over time? What do those returns suggest to you?\u003C\u002Fp>\n","\u003Cp>Actually, only in terms of materials – but only because we produce the exhibitions and our objects ourselves. Everything that can be worked with drills, circular saws and screws in the workshop is used by us again and again. Perhaps we should consider using other tools and approaches.\u003C\u002Fp>\n",{"questions":2257,"_type":45},[2258],{"question":2259,"answer":2260},"\u003Cp>What kinds of conversations do you hope DISKURSIV opens,  within architecture and beyond it?\u003C\u002Fp>\n","\u003Cp>We hope for surprises in our discussions. In the run-up to our Colours series, we were criticised: ‘That’s too boring…’. But the feedback we received afterwards – and that we are also getting with the publication – is very motivating.\u003C\u002Fp>\n\u003Cp>We want to create a low-threshold access for people interested in architecture, bring together researchers in architecture and architectural firms, and deal with things that may not sound particularly exciting at first glance.\u003C\u002Fp>\n",{"questions":2262,"_type":45},[2263],{"question":2264,"answer":2265},"\u003Cp>How can people reach out to you? Do you have any upcoming exhibitions, publications, or programs we should look out for?\u003C\u002Fp>\n","\u003Cp>We can be found on our homepage \u003Ca href=\"https:\u002F\u002Fdiskursiv.xyz\u002Fdesire\">Diskursiv.xyz\u003C\u002Fa> and, of course, on \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fdiskursiv.xyz\u002F?hl=en\">Instagram\u003C\u002Fa>. We are currently working on our third instalment\u002Fseries – we want to explore the topic of desire. At the end of April and beginning of May, we will be putting out a public call for submissions.\u003C\u002Fp>\n",{"_type":6,"_id":2267,"slug":2268,"name":2269,"index":2270,"date":2271,"thumbnails":2272,"description":2280,"footerImage":2281,"categories":2285,"sections":2287},353,"drusch-design","Drusch Design",18,"2025-04-17",{"quote":2273,"main":2274,"secondary":2279,"reverse":24},"\u003Cp>“the future is about blurring the line between art and design, always keeping materiality, concept, and emotional experience at the center…”\u003C\u002Fp>\n",{"image":2275,"background":21,"fit":22},{"_id":2276,"url":2277,"alt":18,"caption":18,"credit":18,"width":19,"height":2278},355,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fdruschdesign-ShellVessel2_01-800x780-1.webp",780,{"image":24,"background":21,"fit":22},"\u003Cp>David Schoenfeld is a Mexico City–based designer and the founder of Drusch Design. His practice focuses on collectible objects and furniture developed through a conceptual approach centered on intersecting forms. Each piece begins with an idea or emotional inquiry that guides the way volumes meet, creating balance, tension, and a clear presence in space. Influenced by the structural clarity of brutalism and a fascination with form, his work moves between sculpture and function. All pieces are handmade in Mexico, often using materials such as metal, marble, and wood.\u003C\u002Fp>\n",{"_id":2282,"url":2283,"alt":18,"caption":18,"credit":18,"width":19,"height":2284},356,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fdruschdesign-Silla_Atlas_DruschDesign_08-800x1092-1.webp",1092,[2286],{"_id":33,"slug":34,"name":35},[2288,2292,2296,2302,2307,2315,2320,2328,2333,2338,2343,2348,2355,2360,2365,2371,2376,2381,2386,2391],{"questions":2289,"_type":45},[2290],{"question":1766,"answer":2291},"\u003Cp>My name is David Schoenfeld, and I am currently based in Mexico City.\u003C\u002Fp>\n",{"questions":2293,"_type":45},[2294],{"question":1904,"answer":2295},"\u003Cp>I focus on designing functional pieces with a sculptural approach, creating objects that resonate within the space they occupy and with the individuals who interact with them.\u003C\u002Fp>\n",{"images":2297,"size":84,"_type":57},[2298],{"_id":2299,"url":2300,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},775,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-8.jpg",1208,{"questions":2303,"_type":45},[2304],{"question":2305,"answer":2306},"\u003Cp>You speak about the future as a key inspiration. How do you define a “futuristic language” in furniture and design?\u003C\u002Fp>\n","\u003Cp>Yes, that’s correct. My inspiration is deeply rooted in a futuristic language, always carrying with me a vision of what’s to come. My process is about translating the essence of the future into my pieces. This translation is reflected in the forms and materials I choose, where the natural and the artificial merge seamlessly. The spaces I imagine feel timeless, almost otherworldly, not belonging to any particular era, capturing the essence of brutalist architecture.\u003C\u002Fp>\n",{"variant":1179,"images":2308,"_type":73},[2309,2312],{"_id":2310,"url":2311,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},776,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-9.jpg",{"_id":2313,"url":2314,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},777,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-8.jpg",{"questions":2316,"_type":45},[2317],{"question":2318,"answer":2319},"\u003Cp>Who or what do you design for first? The object, the room it lives in, or the person who interacts with it.\u003C\u002Fp>\n","\u003Cp>I believe it’s all a fusion. When I start designing an object, I simultaneously consider the user and how they will interact with it. It’s a linear process, but ultimately, it’s about creating a cohesive whole where the object, the space, and the experience merge as one.\u003C\u002Fp>\n",{"variant":176,"images":2321,"_type":73},[2322,2325],{"_id":2323,"url":2324,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},778,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-8.jpg",{"_id":2326,"url":2327,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},779,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-5.jpg",{"questions":2329,"_type":45},[2330],{"question":2331,"answer":2332},"\u003Cp>Is there a piece you’ve made that felt like a turning point in your practice, where something shifted in how you approached form or function?\u003C\u002Fp>\n","\u003Cp>Yes, I would say the Orion Console marks a turning point in my practice. It represents the beginning of a unique design language for my studio, Drusch Design. The piece embodies a futuristic elemental approach, transforming form and function into a timeless expression.\u003Cbr \u002F>\nInspired by the permanence of Stonehenge, it merges the strength of marble with the precision of steel, creating an object that seems to defy gravity while embracing pure simplicity. The contrast between the finishes, combined with geometric forms, reflects my vision of creating pieces that inhabit a future where traditional craftsmanship and material coexist in harmony.\u003C\u002Fp>\n",{"images":2334,"size":84,"_type":57},[2335],{"_id":2336,"url":2337,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},781,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-8.jpg",{"questions":2339,"_type":45},[2340],{"question":2341,"answer":2342},"\u003Cp>Your influences include Harry Nuriev and Demna Gvasalia, how do fashion and spatial design interact in your thinking?\u003C\u002Fp>\n","\u003Cp>Fashion design has always been present in my career as an Industrial designer. Influences like Demna Gvasalia have inspired me to connect with objects and industrial design in a way that feels simultaneously raw and futuristic. Demna’s work constantly challenges traditional norms, turning functional garments into futuristic art pieces. Similarly, Harry Nuriev, founder of Crosby Studios, treats furniture and spaces as emotional and cultural expressions rather than just functional designs. Both visions inspire how I conceptualize design ideas, helping me translate form and material into a context that feels unconventional yet deeply artistic.\u003C\u002Fp>\n",{"questions":2344,"_type":45},[2345],{"question":2346,"answer":2347},"\u003Cp>Do you see your work evolving toward even more sculptural directions, or are you interested in staying functional?\u003C\u002Fp>\n","\u003Cp>I see my work evolving toward a space where sculpture and function coexist seamlessly. Function is essential to what I do, but I’m interested in pushing the limits of how an object can be both useful and emotional. At some point, I can see myself designing sculptural pieces, objects without a direct function, but still carrying the same sense of purpose and intention that guides functional design. For me, the future is about blurring the line between art and design, always keeping materiality, concept, and emotional experience at the center.\u003C\u002Fp>\n",{"variant":1116,"images":2349,"_type":73},[2350,2353],{"_id":2351,"url":2352,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},782,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-10.jpg",{"_id":2050,"url":2354,"alt":18,"caption":18,"credit":18,"width":1849,"height":2301},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-6.jpg",{"questions":2356,"_type":45},[2357],{"question":2358,"answer":2359},"\u003Cp>If you could collaborate with anyone, who would you choose?\u003C\u002Fp>\n","\u003Cp>My biggest dream would be to collaborate with my greatest inspiration, Harry Nuriev. His approach to design,  treating furniture and spaces as emotional and cultural expressions resonates deeply with the way I see the future of objects.\u003C\u002Fp>\n",{"questions":2361,"_type":45},[2362],{"question":2363,"answer":2364},"\u003Cp>Outside of design, what’s inspiring you right now?\u003C\u002Fp>\n","\u003Cp>Outside of design, what’s inspiring me right now is definitely space. It has always fascinated me, especially as one of the most mysterious fields in science. I’m deeply inspired by NASA’s explorations and discoveries, from finding habitable planets to the search for extraterrestrial life, and the ongoing advancement of technology to explore new worlds. The vastness and potential of the universe constantly fuel my curiosity and creativity.\u003C\u002Fp>\n",{"images":2366,"size":84,"_type":57},[2367],{"_id":2368,"url":2369,"alt":18,"caption":18,"credit":18,"width":1849,"height":2370},784,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-5.jpg",1915,{"questions":2372,"_type":45},[2373],{"question":2374,"answer":2375},"\u003Cp>Do you think your work shifts when placed alongside other pieces in a group exhibition?\u003C\u002Fp>\n","\u003Cp>Absolutely. I always imagine my pieces living in futuristic, almost out-of-context spaces, but seeing them interact with pieces from other designers is always an inspiring experience. It expands my creativity and opens new ways of seeing my own work. The curatorial process brings everything together under a shared harmony, allowing each piece to resonate even more. In that context, my work evolves. It retains its core presence but also becomes part of a larger conversation, uncovering new layers of meaning.\u003C\u002Fp>\n",{"questions":2377,"_type":45},[2378],{"question":2379,"answer":2380},"\u003Cp>What’s the most unexpected place you’ve found inspiration lately?\u003C\u002Fp>\n","\u003Cp>Lately, I’ve found inspiration in the most ordinary objects I see on the streets, things people usually overlook. Everyday shapes, textures, and even worn-out materials have a certain raw beauty and untold story that I find. It’s about viewing the world through a different lens, discovering potential in the unexpected, and reimagining how something simple can inspire an entirely new idea.\u003C\u002Fp>\n",{"questions":2382,"_type":45},[2383],{"question":2384,"answer":2385},"\u003Cp>What’s one thing, completely unrelated to work, that you always set time aside for?\u003C\u002Fp>\n","\u003Cp>I always make time for exercise and mental health. Moving my body and clearing my mind are essential parts of my routine.\u003C\u002Fp>\n",{"questions":2387,"_type":45},[2388],{"question":2389,"answer":2390},"\u003Cp>Is there something you’re trying to unlearn?\u003C\u002Fp>\n","\u003Cp>Yes, definitely. I’m working on unlearning the fear of experimenting with new materials and designing objects that I haven’t explored before in my career. It’s about pushing past the boundaries of what I’m comfortable with and embracing the unknown, which is where the most exciting growth happens.\u003C\u002Fp>\n",{"questions":2392,"_type":45},[2393],{"question":638,"answer":2394},"\u003Cp>You can find me on social media and various web platforms that feature my work, such as Adorno Design, 1stDibs, and Galerie Philia. Physically, I’m currently showcasing my pieces at Originario, a store dedicated to Mexican design.\u003C\u002Fp>\n",{"_type":6,"_id":2396,"slug":2397,"name":2398,"index":2399,"date":2400,"thumbnails":2401,"description":2409,"footerImage":2410,"categories":2414,"sections":2418},357,"alter-d","Alter D.",19,"2025-04-19",{"quote":2402,"main":2403,"secondary":2408,"reverse":24},"\u003Cp>“I’ve focused on changing the meaning because I work in an industry that’s obsessed with ‘NEW’ and that is often treated equally to ‘BETTER’…”\u003C\u002Fp>\n",{"image":2404,"background":21,"fit":511},{"_id":2405,"url":2406,"alt":18,"caption":18,"credit":2407,"width":1430,"height":156},361,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F20240618_103746a.jpg","carsten",{"image":24,"background":21,"fit":22},"\u003Cp>Gabriela Vallejos Castro is a multidisciplinary designer currently working with upcycling footwear. Using discarded materials as raw material, her aim is to create pieces that challenge the idea of newness. Craft lies at the root of her practice, passed down through the women in her family and forming an essential part of her identity.\u003C\u002Fp>\n",{"_id":2411,"url":2412,"alt":18,"caption":18,"credit":18,"width":2413,"height":1790},747,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFooter-1-scaled.jpg",1633,[2415],{"_id":240,"slug":2416,"name":2417},"fashion","Fashion",[2419,2423,2428,2434,2439,2449,2454,2461,2466,2478,2483,2489,2494,2501,2506,2511,2517,2522],{"questions":2420,"_type":45},[2421],{"question":1171,"answer":2422},"\u003Cp>My name is Gabriela Vallejos Castro and I’m based in Gothenburg, Sweden.\u003C\u002Fp>\n",{"questions":2424,"_type":45},[2425],{"question":2426,"answer":2427},"\u003Cp>Can you describe what you do in a few words?\u003C\u002Fp>\n","\u003Cp>I repurpose discarded shoes and textiles into contemporary footwear.\u003C\u002Fp>\n",{"images":2429,"size":84,"_type":57},[2430],{"_id":2431,"url":2432,"alt":18,"caption":18,"credit":18,"width":2433,"height":1790},748,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-6-scaled.jpg",1775,{"questions":2435,"_type":45},[2436],{"question":2437,"answer":2438},"\u003Cp>Can you tell us about the moment you realized you needed to leave commercial fashion?\u003C\u002Fp>\n","\u003Cp>I knew within the first 3 months I wasn’t going to last a lifetime but I still worked within the industry for approx. 4 years. Setting aside all problems within fast-fashion, I never got used to working in front of the computer for 8 hours a day. I went from working hands-on to sitting still, developing digital sketches. By the time you got to see the samples, the whole team had already moved on. There was never time to fully care about the product and if we as designers don’t have the time to care, how can we ask a customer to?\u003C\u002Fp>\n",{"variant":1179,"images":2440,"_type":73},[2441,2446],{"_id":2442,"url":2443,"alt":18,"caption":18,"credit":18,"width":2444,"height":2445},749,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-7.jpg",2345,1715,{"_id":205,"url":2447,"alt":18,"caption":18,"credit":18,"width":2448,"height":2445},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-6.jpg",1348,{"questions":2450,"_type":45},[2451],{"question":2452,"answer":2453},"\u003Cp>What was it about footwear specifically that clicked for you?\u003C\u002Fp>\n","\u003Cp>I’ve studied at multiple design schools to become a fashion designer and during those years it never felt natural to use my own body as a canvas. I’m short and have wide Latin American hips which is very different from fashion-industry-standards. When I started to do footwear, it was the first time I could sketch and drape on myself. I could wear and see the designs through the whole process. It was like my legs became my muses and my models.\u003C\u002Fp>\n",{"images":2455,"size":84,"_type":57},[2456],{"_id":2457,"url":2458,"alt":18,"caption":18,"credit":18,"width":2459,"height":2460},751,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-5.jpg",1574,2558,{"questions":2462,"_type":45},[2463],{"question":2464,"answer":2465},"\u003Cp>You mention that anyone can design, but saying something meaningful is the real challenge, what do you feel your work is starting to say?\u003C\u002Fp>\n","\u003Cp>That repurposed goods can be done on a higher level in a couture-like manner. That the work can be as clean and polished as something brand new, and in the end that new can just as easily be made from the pre-existing.\u003C\u002Fp>\n",{"first":2467,"second":2472,"third":2475,"variant":150,"_type":206},{"_id":2468,"url":2469,"alt":18,"caption":18,"credit":18,"width":2470,"height":2471},753,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-2-1.jpg",1708,1977,{"_id":2473,"url":2474,"alt":18,"caption":18,"credit":18,"width":2470,"height":2471},754,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-1-1.jpg",{"_id":2476,"url":2477,"alt":18,"caption":18,"credit":18,"width":2470,"height":2471},755,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-3-1.jpg",{"questions":2479,"_type":45},[2480],{"question":2481,"answer":2482},"\u003Cp>You describe this project as finding home, but still settling in. What makes it feel like home?\u003C\u002Fp>\n","\u003Cp>It’s a gut feeling. I think I struggled to find my design aesthetic before. In school, you were taught to think BIG by sketching big silhouettes and to think w-i-d-e by paying attention to a whole spectrum of things. It was too overwhelming for me, especially since I’m a perfectionist. Working small has made me at ease and grounded because now I can take the time to work on the craftmanship and all the little details.\u003C\u002Fp>\n",{"images":2484,"size":56,"_type":57},[2485],{"_id":2486,"url":2487,"alt":18,"caption":18,"credit":18,"width":2488,"height":2471},757,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-6.jpg",1112,{"questions":2490,"_type":45},[2491],{"question":2492,"answer":2493},"\u003Cp>Working with existing materials can be tough, how do you source them, and what do you look for?\u003C\u002Fp>\n","\u003Cp>I source by thrifting both in physical second-hand shops and online. I usually look for textures or certain colours or prints. I’ve just recently started to collaborate with a textile sorting-centre and an estate-sale company which has forced me to be quite specific in what I’m looking for and how I convey that to others.\u003C\u002Fp>\n",{"images":2495,"size":84,"_type":57},[2496],{"_id":2497,"url":2498,"alt":18,"caption":18,"credit":18,"width":2499,"height":2500},761,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-7.jpg",2180,1228,{"questions":2502,"_type":45},[2503],{"question":2504,"answer":2505},"\u003Cp>You mention wanting to change the meaning of “new.” What do you think “new” should mean in design today?\u003C\u002Fp>\n","\u003Cp>I’ve focused on changing the meaning because I work in an industry that’s obsessed with ‘NEW’ and that is often treated equally to ‘BETTER’. As an example, your sweater is old to you but it can be new to me. If you wear your sweater as a skirt it takes on a new shape and forms a new meaning to both of us. It shows that we don’t need to produce more sweaters in order to experience new, we just need to shape-shift things!\u003C\u002Fp>\n",{"questions":2507,"_type":45},[2508],{"question":2509,"answer":2510},"\u003Cp>If you expanded, what would you try next?\u003C\u002Fp>\n","\u003Cp>I’m not sure I would. I think I’ve just scratched the surface of this project. However, I’d like to teach more and educate others about mending and caring. There are a lot of people who don’t know how to sew a button for example.\u003C\u002Fp>\n",{"images":2512,"size":56,"_type":57},[2513],{"_id":2514,"url":2515,"alt":18,"caption":18,"credit":18,"width":2516,"height":1790},762,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-4-scaled.jpg",1443,{"questions":2518,"_type":45},[2519],{"question":2520,"answer":2521},"\u003Cp>Outside of work, what does an ideal day look like?\u003C\u002Fp>\n","\u003Cp>Work-free days usually mean re-charging to me. Since I’m an introvert I need time alone without any pressure to perform. Just like every other fashion girly I love iced-lattes and thrifting. However, I love making it to an excursion and travel to a nearby town by train. I won’t leave the thrift shop until I’ve examined all glass-ware one by one. When I’m done, I like to go to a restaurant where I can order a glass of wine and people watch, and wonder about who I would have been if I’d lived there…\u003C\u002Fp>\n",{"questions":2523,"_type":45},[2524],{"question":638,"answer":2525},"\u003Cp>My work exist on Instagram at the moment at @__alter.d but a website is coming. It’s not quite settled if it’s during this spring or summer, but my work will be exhibited for the first time at @forumgoteborg in a group exhibition which I’m very exited about! Come visit Gothenburg, Sweden!\u003C\u002Fp>\n",{"_type":6,"_id":2527,"slug":2528,"name":2529,"index":2530,"date":2531,"thumbnails":2532,"description":2025,"footerImage":2539,"categories":2542,"sections":2544},362,"sulaiman-al-salem","Sulaiman Al Salem",20,"2025-04-22",{"quote":2533,"main":2534,"secondary":2538,"reverse":24},"\u003Cp>“ I allow myself to get absorbed in phenomena, and from that immersion, form emerges organically…”\u003C\u002Fp>\n",{"image":2535,"background":21,"fit":56},{"_id":2536,"url":2537,"alt":18,"caption":18,"credit":18,"width":1790,"height":2470},364,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fc59e6fb1-b3c5-4d7c-9623-c05c175c7030-scaled.jpeg",{"image":24,"background":21,"fit":22},{"_id":2540,"url":2541,"alt":18,"caption":18,"credit":18,"width":2470,"height":1790},365,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2e9fa54f-f535-4d6b-a617-0b6fc2cc8580-scaled.jpeg",[2543],{"_id":127,"slug":146,"name":147},[2545,2549,2554,2559,2564,2569,2574,2579,2584,2588,2593,2598,2603,2609,2614],{"questions":2546,"_type":45},[2547],{"question":1171,"answer":2548},"\u003Cp>My name is Suliman Al Salem. I recently moved to Riyadh after spending 15 years living and working in Jeddah.\u003C\u002Fp>\n",{"questions":2550,"_type":45},[2551],{"question":2552,"answer":2553},"\u003Cp>Can you describe what you do?\u003C\u002Fp>\n","\u003Cp>I create moments, not things. My work is not about matter, but about phenomenon, about what cannot be touched or defined but experienced. It is about motivation, circumstances, and states of being.\u003C\u002Fp>\n",{"images":2555,"size":84,"_type":57},[2556],{"_id":2557,"url":2558,"alt":18,"caption":18,"credit":18,"width":504,"height":2172},786,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Felevator.jpg",{"questions":2560,"_type":45},[2561],{"question":2562,"answer":2563},"\u003Cp>What led you there?\u003C\u002Fp>\n","\u003Cp>It was a call from the reality itself a yearning to explore its ever-shifting nature, or perhaps to unveil, that space where being interacts with circumstance. My journey began with a fascination for the unseen, for that inner realm where the feeling and and perception meet where truth is not fixed but is constantly in flux,\u003C\u002Fp>\n",{"questions":2565,"_type":45},[2566],{"question":2567,"answer":2568},"\u003Cp>How do you develop a concept? Do you write, draw, experiment?\u003C\u002Fp>\n","\u003Cp>Concepts are not something I develop, but something I uncover or expose. They already exist “hidden, entangled in perception or experience and my role is to bring them into visibility.” Usually, I arrive at artworks more than I arrive at concepts. My process relies heavily on observation and experimentation; I allow myself to get absorbed in phenomena, and from that immersion, form emerges organically.\u003C\u002Fp>\n",{"images":2570,"size":84,"_type":57},[2571],{"_id":2125,"url":2572,"alt":18,"caption":18,"credit":18,"width":701,"height":2573},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_1035.jpg",426,{"questions":2575,"_type":45},[2576],{"question":2577,"answer":2578},"\u003Cp>How do you test a new material? Are you looking for failure, surprise, or control?\u003C\u002Fp>\n","\u003Cp>It depends a lot on the situation and context. I shot my first works without my knowledge. I recorded a moment that resembled a phenomenon on video. But over time, there are materials that have a phenomenal existence at their core It draws me to interact with it. I’m looking for circumstances that can’t be explained.\u003C\u002Fp>\n",{"questions":2580,"_type":45},[2581],{"question":2582,"answer":2583},"\u003Cp>You use television static, looping video, and multiple frame compositions, what do these mediums allow you to express that an image alone can’t?\u003C\u002Fp>\n","\u003Cp>They allow for movement and movement, to me, intensifies emotion. A still image can document or hold memory, but motion breathes. Loops, glitches, and video rhythms allow me to evoke perception as a living, shifting experience rather than a fixed point.\u003C\u002Fp>\n",{"images":2585,"size":84,"_type":57},[2586],{"_id":1139,"url":2587,"alt":18,"caption":18,"credit":18,"width":1849,"height":2370},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUntitled-2-1.jpg",{"questions":2589,"_type":45},[2590],{"question":2591,"answer":2592},"\u003Cp>Your recent works create the illusion of motion as the viewer walks around the piece, do you consider your audience part of the artwork?\u003C\u002Fp>\n","\u003Cp>I’ve always considered the audience as a part of my art works, most of my works are a kind of experience and the experience will not be complete without the experiencer\u003C\u002Fp>\n",{"questions":2594,"_type":45},[2595],{"question":2596,"answer":2597},"\u003Cp>How does pareidolia shape your creative decisions? Do you intentionally design for the viewer to find something that isn’t there?\u003C\u002Fp>\n","\u003Cp>I think more in terms of “apophenia” the broader tendency to find patterns or meaning in randomness. I try not to fall victim to it myself, and I’m aware of how easily perception can mislead. Sometimes, I even try to caution the viewer: what you think you see might not be there and that in itself is part of the work.\u003C\u002Fp>\n",{"questions":2599,"_type":45},[2600],{"question":2601,"answer":2602},"\u003Cp>In “CCC,” the title itself is a construction. How important is naming a piece to guide perception?\u003C\u002Fp>\n","\u003Cp>Naming the artwork is one of the fun steps for me, in this piece from the Floating on the Horizon series which relies on optical illusion to draw attention to the fact that not everything that can be followed can lead to meaning. Often we follow illusion, so by following illusion with intention I named this piece “CCC”\u003C\u002Fp>\n",{"images":2604,"size":56,"_type":57},[2605],{"_id":2606,"url":2607,"alt":18,"caption":18,"credit":18,"width":1689,"height":2608},785,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3664930D-86A3-4223-BCAE-4348CC5CD641.jpeg",480,{"questions":2610,"_type":45},[2611],{"question":2612,"answer":2613},"\u003Cp>Do you think philosophy helps you explain your work to others? Or just helps you understand yourself more deeply?\u003C\u002Fp>\n","\u003Cp>I think it just helps me understand myself more deeply, art is born at the edge where language breaks.\u003Cbr \u002F>\nFor me, philosophy isn’t a tool for explanation it’s a framework for understanding. Art begins where language ends. Philosophy helps me understand myself, my questions, and my contradictions. But when it comes to the work, I want it to speak in its own language.\u003C\u002Fp>\n",{"questions":2615,"_type":45},[2616],{"question":638,"answer":2617},"\u003Cp>You can find me at my personal studio in Diriyah, on Instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fsulimanelsalem\u002F?hl=en\">@sulimanelsalem\u003C\u002Fa>, or on my website \u003Ca href=\"https:\u002F\u002Fsulimanslalem.com\">www.sulimanslalem.com\u003C\u002Fa>. I’m also currently preparing for a solo exhibition scheduled for 2026 Location will be determined later.\u003C\u002Fp>\n",{"_type":6,"_id":2619,"slug":2620,"name":2621,"index":2622,"date":2623,"thumbnails":2624,"description":2632,"footerImage":2633,"categories":2638,"sections":2640},366,"ana-drucker","Ana Drucker",21,"2025-04-24",{"quote":2625,"main":2626,"secondary":2631,"reverse":24},"\u003Cp>“I love when reality feels uncertain—when it blurs into something we call weird or grotesque or surreal just because it escapes easy explanation…”\u003C\u002Fp>\n",{"image":2627,"background":21,"fit":22},{"_id":2628,"url":2629,"alt":18,"caption":18,"credit":18,"width":2630,"height":2630},372,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6_Red_1wa.jpg",1326,{"image":24,"background":21,"fit":22},"\u003Cp>Ana Drucker is a multidisciplinary artist working at the intersection of materiality and the unsettling. She studied Industrial Design at CENTRO in Mexico City and Arts and Design at Escola Massana in Barcelona, with diplomas in Painting, Graphic Design, and Mould Making across Florence and Barcelona. For nearly a decade, she worked as a curator and cultural manager, collaborating with MIRA, La Caixa, and Blueproject Foundation, also teaching audiovisual culture. In recent years, she has refocused on her artistic practice as her primary direction and co-founded SSUAVE, an artist-run space.\u003C\u002Fp>\n",{"_id":2634,"url":2635,"alt":18,"caption":18,"credit":18,"width":2636,"height":2637},790,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Ffooter-2.jpg",2095,1364,[2639],{"_id":259,"slug":260,"name":261},[2641,2645,2649,2655,2660,2667,2672,2681,2686,2691,2696,2701,2708,2712,2719,2723,2730,2734,2739,2744,2750],{"questions":2642,"_type":45},[2643],{"question":1766,"answer":2644},"\u003Cp>My name is Ana Drucker. I’m from Mexico City and currently based in Barcelona.\u003C\u002Fp>\n",{"questions":2646,"_type":45},[2647],{"question":1904,"answer":2648},"\u003Cp>I make objects and sculptures. I work with many materials, but lately I’ve been focused on glass, ceramics, and more recently, silver jewelry. I’m drawn to materials that are shaped and transformed by fire—things that can melt, fuse, or transform under heat. Fire is both unpredictable and alchemical; it alters materials in ways I can’t fully control, and that’s my current obsession. I want to melt stuff or transform it through fire.\u003C\u002Fp>\n",{"images":2650,"size":84,"_type":57},[2651],{"_id":2652,"url":2653,"alt":18,"caption":18,"credit":18,"width":2654,"height":1790},791,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-9-scaled.jpg",1746,{"questions":2656,"_type":45},[2657],{"question":2658,"answer":2659},"\u003Cp>What first pulled you toward the strange and the grotesque? Was it a moment, an image, a material?\u003C\u002Fp>\n","\u003Cp>I think stories pulled me in first. I’ve always been fascinated by the paranormal, true crime, magic, diseases, body deformations, anything that exists within the limits of what we can understand. I love when reality feels uncertain—when it blurs into something we call weird or grotesque or surreal just because it escapes easy explanation. That feeling of not knowing exactly what you’re seeing or how to name it, that discomfort, that distortion of reality—that’s what pulls me in.\u003C\u002Fp>\n",{"images":2661,"size":56,"_type":57},[2662],{"_id":2663,"url":2664,"alt":18,"caption":18,"credit":18,"width":2665,"height":2666},792,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-10.jpg",1452,1126,{"questions":2668,"_type":45},[2669],{"question":2670,"answer":2671},"\u003Cp>Your work often feels like it’s alive, or recently alive. How do you think about the presence of ‘life’ in your objects?\u003C\u002Fp>\n","\u003Cp>Thank you—that’s very meaningful to me. I think of life as a process more than a fixed state. It involves change, decay, growth, error, even death. It’s always in motion. I try to reflect that in my work by embracing transformation, mistakes, experiments and imperfection. Fire plays a big role in that—it warps, melts, fuses, scars. It leaves traces of what once was, and is also capable of destroying but bringing new life.\u003C\u002Fp>\n",{"variant":1116,"images":2673,"_type":73},[2674,2678],{"_id":2675,"url":2676,"alt":18,"caption":18,"credit":18,"width":2665,"height":2677},793,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-9.jpg",1857,{"_id":2679,"url":2680,"alt":18,"caption":18,"credit":18,"width":2665,"height":2677},794,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-9.jpg",{"questions":2682,"_type":45},[2683],{"question":2684,"answer":2685},"\u003Cp>You work with heat, breakage, mutation—do you ever think of your process as a kind of controlled destruction?\u003C\u002Fp>\n","\u003Cp>I try not to focus on control or results— I like the unpredictable and the surprise of not really knowing what you are doing. A lot of what I make comes from accidents, from forcing materials that don’t usually go together to coexist. When sometime that doesn’t work I destroy the pieces, and save the materials for later, a lot of discarded materials end up being used in other experiments, so I think destruction is also part of creating new things.\u003C\u002Fp>\n",{"questions":2687,"_type":45},[2688],{"question":2689,"answer":2690},"\u003Cp>You speak about materials exposing what we don’t fully understand. What’s something you’re still trying to understand yourself, through making?\u003C\u002Fp>\n","\u003Cp>I’m trying to understand how materials behave—what they’re made of, how they react or transform when combined with others. I’m also interested in how we react to things that are considered strange, gross, unsettling. I have a high tolerance for the eerie and the grotesque, and I’m drawn to things that feel inexplicable. I think I’m trying to get there with my work—to create objects that are magnetic but also a little unsettling. I’m not fully there yet, but that’s where I’m headed.\u003C\u002Fp>\n",{"images":2692,"size":84,"_type":57},[2693],{"_id":2694,"url":2695,"alt":18,"caption":18,"credit":18,"width":1468,"height":1573},795,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-6.jpg",{"questions":2697,"_type":45},[2698],{"question":2699,"answer":2700},"\u003Cp>Is there a material you’ve always wanted to work with—something you haven’t quite figured out how to use yet?\u003C\u002Fp>\n","\u003Cp>Yes! I really want to cast metals like aluminum or iron, and I’d love to learn large-scale glass work, either casting or glassblowing. I’m interested in scaling things up, and those materials feel like the next step.\u003C\u002Fp>\n",{"images":2702,"size":84,"_type":57},[2703],{"_id":2704,"url":2705,"alt":18,"caption":18,"credit":18,"width":2706,"height":2707},880,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FNEW1.jpg",1860,1442,{"questions":2709,"_type":45},[2710],{"question":2117,"answer":2711},"\u003Cp>Yes! My last series started as abstract sculptures, and a friend mentioned they could work as bookends. I tried selling them that way, and they started moving quickly. That really shifted my thinking—I realized that people connect differently when an object has a potential use. There’s often a distance between people and “art,” but design feels more accessible. It was surprising, but I also loved that some people still insisted they were sculptures, not bookends. That tension—between use and art—made me explore that series for quite a while. It taught me that meaning isn’t fixed; it can evolve through context.\u003C\u002Fp>\n",{"images":2713,"size":56,"_type":57},[2714],{"_id":2715,"url":2716,"alt":18,"caption":18,"credit":18,"width":2717,"height":2718},796,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-9.jpg",1822,2192,{"questions":2720,"_type":45},[2721],{"question":2384,"answer":2722},"\u003Cp>Cooking. I love it. If everything else fails, I’ll just open a dinner spot somewhere. Also, walking my dog— there has to be time for her.\u003C\u002Fp>\n",{"images":2724,"size":56,"_type":57},[2725],{"_id":2726,"url":2727,"alt":18,"caption":18,"credit":18,"width":2728,"height":2729},798,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-7.jpg",1125,1599,{"questions":2731,"_type":45},[2732],{"question":1511,"answer":2733},"\u003Cp>My pillow, always. And my altar—it’s made of stones and small objects I’ve collected over the years, every time I have moved those things have a new place in my home.\u003C\u002Fp>\n",{"questions":2735,"_type":45},[2736],{"question":2737,"answer":2738},"\u003Cp>Have you ever used a material that is considered eerie in itself?\u003C\u002Fp>\n","\u003Cp>Yes—I once used real teeth in a music video, and I’ve used bones to create glazes. I’m obsessed with teeth and bones, and currently I’m trying to make a jewelry collection from these teeth I’ve been saving.\u003C\u002Fp>\n",{"questions":2740,"_type":45},[2741],{"question":2742,"answer":2743},"\u003Cp>Do you see your pieces as characters?\u003C\u002Fp>\n","\u003Cp>Not yet, but my next project will explore this. I’m starting to think about the relationship plants and insects create with the environment—how they move, survive, and transform. I want to build sculptures based on this capacities.\u003C\u002Fp>\n",{"images":2745,"size":56,"_type":57},[2746],{"_id":2747,"url":2748,"alt":18,"caption":18,"credit":18,"width":2749,"height":2718},797,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-11.jpg",1518,{"questions":2751,"_type":45},[2752],{"question":638,"answer":2753},"\u003Cp>My studio in Barcelona is called \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fssuave3000\u002F\">SSUAVE\u003C\u002Fa>. You can find me on \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fanadrckr\u002F\">Instagram\u003C\u002Fa>, and soon I’ll be traveling to China for a residency in Jingdezhen.\u003C\u002Fp>\n",{"_type":6,"_id":2755,"slug":2756,"name":2757,"index":2758,"date":2759,"thumbnails":2760,"description":2772,"footerImage":2773,"categories":2776,"sections":2778},373,"373-2","Han Ceramics",22,"2025-04-26",{"quote":2761,"main":2762,"secondary":2767,"reverse":24},"\u003Cp>“That sense of ambiguity, of being both familiar and enigmatic, is something I try to capture in my own work…”\u003C\u002Fp>\n",{"image":2763,"background":21,"fit":56},{"_id":2764,"url":2765,"alt":18,"caption":18,"credit":18,"width":255,"height":2766},374,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11937455.jpeg",834,{"image":2768,"background":21,"fit":511},{"_id":2769,"url":2770,"alt":18,"caption":18,"credit":2771,"width":1430,"height":156},378,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUntitled-1b.jpg","Sarah","\u003Cp>HAN is a Cape Town-based ceramics studio founded by artist Hannah Massey, creating handbuilt sculptural ceramics. Rooted in an intuitive approach to clay, her work merges the abstract and the familiar, drawing from biomorphic shapes, ancient artifacts, and the natural world. Alongside sculptures, the studio produces distinctive objets for the home, bringing a touch of the unexpected to interior spaces.\u003C\u002Fp>\n",{"_id":2774,"url":2775,"alt":18,"caption":18,"credit":18,"width":653,"height":653},375,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FHAN-_Gathering_-SR-2a.jpg",[2777],{"_id":259,"slug":260,"name":261},[2779,2783,2787,2795,2800,2806,2811,2817,2825,2834,2839,2844,2849,2866,2875],{"questions":2780,"_type":45},[2781],{"question":1319,"answer":2782},"\u003Cp>My name is Hannah Massey and I’m based in the city of Cape Town, South Africa.\u003C\u002Fp>\n",{"questions":2784,"_type":45},[2785],{"question":2426,"answer":2786},"\u003Cp>HAN Ceramics is about exploring form, material, and the space in between. Each piece is handbuilt, allowing the clay to take shape in an intuitive, organic way. While I first focused on creating functional vessels, my practice has evolved to be more sculptural and expressive—translating my inner world into tactile forms.\u003C\u002Fp>\n",{"variant":1116,"images":2788,"_type":73},[2789,2792],{"_id":2790,"url":2791,"alt":18,"caption":18,"credit":18,"width":1276,"height":1277},824,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-12.jpg",{"_id":2793,"url":2794,"alt":18,"caption":18,"credit":18,"width":1276,"height":1277},825,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-13.jpg",{"questions":2796,"_type":45},[2797],{"question":2798,"answer":2799},"\u003Cp>Your pieces feel both alive and abstract, Are the shapes you create meant to feel familiar, or are you more interested in ambiguity?\u003C\u002Fp>\n","\u003Cp>I think it’s a balance of both. The forms I create are rooted in human and natural shapes, so there’s an inherent familiarity to them, but I’m also drawn to ambiguity. I like the idea that a piece can feel recognizable but not entirely defined, like something remembered. It’s that in-between space that interests me; the tension between presence and absence; form and feeling.\u003C\u002Fp>\n",{"images":2801,"size":84,"_type":57},[2802],{"_id":2803,"url":2804,"alt":18,"caption":18,"credit":18,"width":1276,"height":2805},826,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-12.jpg",723,{"questions":2807,"_type":45},[2808],{"question":2809,"answer":2810},"\u003Cp>Your style seems very distinct, do you remember the first time you feel like you encountered it, and how it felt?\u003C\u002Fp>\n","\u003Cp>My style wasn’t something I encountered all at once – it evolved over time. It feels like a culmination of experiences, exposures, and a growing understanding of form. I’ve always been interested in world building – whether through objects, spaces, or narratives. My studies in set design and previous jobs in interiors and styling eventually led me to discovering my love of ancient artifacts, Japanese minimalism. However, I do remember the moment when things clicked; when I realized I was more interested in forms that felt unearthed rather than constructed. Making these biomorphic forms felt natural, like I was uncovering something rather than designing it.\u003C\u002Fp>\n",{"images":2812,"size":56,"_type":57},[2813],{"_id":2814,"url":2815,"alt":18,"caption":18,"credit":18,"width":1276,"height":2816},827,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-12.jpg",1344,{"questions":2818,"_type":45},[2819,2822],{"question":2820,"answer":2821},"\u003Cp>Is there a specific ancient object or artifact that shifted the way you approach your own making?\u003C\u002Fp>\n","\u003Cp>Yes, the Eye Idols of Tell Brak, Syria. They had a profound impact on the way I think about form and presence. Their expressive simplicity shifted my approach to making. These tiny figures, with their wide, staring eyes, feel human yet otherworldly. That sense of ambiguity, of being both familiar and enigmatic, is something I try to capture in my own work. I’m interested in evoking a feeling, a recognition just beyond reach.\u003C\u002Fp>\n",{"question":2823,"answer":2824},"\u003Cp>What is the most unconventional source you’ve ever drawn inspiration from?\u003C\u002Fp>\n","\u003Cp>Probably David Lynch. I guess that’s quite unusual for a ceramicist.\u003C\u002Fp>\n",{"variant":1116,"images":2826,"_type":73},[2827,2830],{"_id":942,"url":2828,"alt":18,"caption":18,"credit":18,"width":2829,"height":1137},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-9.jpg",810,{"_id":2831,"url":2832,"alt":18,"caption":18,"credit":18,"width":1036,"height":2833},829,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-12.jpg",1240,{"questions":2835,"_type":45},[2836],{"question":2837,"answer":2838},"\u003Cp>If you were to stray away from ceramic art, what kind of art would you be interested in exploring?\u003C\u002Fp>\n","\u003Cp>Tricky! It took me quite long to settle on ceramics after trying so many mediums. I would love to get involved in film again. But, something I haven’t tried and would love to do is glassblowing.\u003C\u002Fp>\n",{"questions":2840,"_type":45},[2841],{"question":2842,"answer":2843},"\u003Cp>What object in your studio or home holds the most meaning for you right now?\u003C\u002Fp>\n","\u003Cp>It would have to be the first H candle holder that I made, it became my trademark, helped me find my style, and is something I return to instictively. I kept it and it’s sitting on my shelf at home.\u003C\u002Fp>\n",{"images":2845,"size":84,"_type":57},[2846],{"_id":2847,"url":2848,"alt":18,"caption":18,"credit":18,"width":1036,"height":1184},830,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-13.jpg",{"questions":2850,"_type":45},[2851,2854,2857,2860,2863],{"question":2852,"answer":2853},"\u003Cp>Would you rather work in Silence or music while working?\u003C\u002Fp>\n","\u003Cp>Music\u003C\u002Fp>\n",{"question":2855,"answer":2856},"\u003Cp>Do you prefer to plan your pieces or listen to intuition while creating?\u003C\u002Fp>\n","\u003Cp>Always listen to your intuition.\u003C\u002Fp>\n",{"question":2858,"answer":2859},"\u003Cp>Would you rather spend a day sculpting blindfolded or with your non-dominant hand?\u003C\u002Fp>\n","\u003Cp>I’m ambidextrous, but sculpting blindfolded does sound fun.\u003C\u002Fp>\n",{"question":2861,"answer":2862},"\u003Cp>Would you rather create something no one understands or something everyone misunderstands?\u003C\u002Fp>\n","\u003Cp>Something no one understands\u003C\u002Fp>\n",{"question":2864,"answer":2865},"\u003Cp>Would you rather collaborate with your past self or your future self?\u003C\u002Fp>\n","\u003Cp>Future Self, hopefully older and wiser.\u003C\u002Fp>\n",{"first":2867,"second":2870,"third":2873,"variant":150,"_type":206},{"_id":2868,"url":2869,"alt":18,"caption":18,"credit":18,"width":1036,"height":1036},831,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-9.jpg",{"_id":2871,"url":2872,"alt":18,"caption":18,"credit":18,"width":1036,"height":1036},832,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-8.jpg",{"_id":984,"url":2874,"alt":18,"caption":18,"credit":18,"width":1036,"height":1036},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F90.jpg",{"questions":2876,"_type":45},[2877],{"question":638,"answer":2878},"\u003Cp>Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fhan______ceramics\u002F\">@han_____ceramics\u003C\u002Fa>, info@hanstudion.online, 31 Loop Street, Cape Town\u003C\u002Fp>\n",{"_type":6,"_id":2880,"slug":2881,"name":2882,"index":2883,"date":2884,"thumbnails":2885,"description":18,"footerImage":2896,"categories":2899,"sections":2903},379,"salma-m-baset","Salma Mohamed Baset",23,"2025-04-28",{"quote":2886,"main":2887,"secondary":2892,"reverse":24},"\u003Cp>“I see technology as more of a victim and a companion. This shift in perspective is reflected in the playfulness that my pieces carry…”\u003C\u002Fp>\n",{"image":2888,"background":21,"fit":139},{"_id":2889,"url":2890,"alt":18,"caption":18,"credit":18,"width":2728,"height":2891},431,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_4794n.jpg",1392,{"image":2893,"background":137,"fit":22},{"_id":2894,"url":2895,"alt":18,"caption":18,"credit":18,"width":653,"height":295},383,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_6510aa.jpg",{"_id":2897,"url":2898,"alt":18,"caption":18,"credit":18,"width":653,"height":503},382,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_6583a.jpg",[2900],{"_id":495,"slug":2901,"name":2902},"engineer","Engineer",[2904,2908,2912,2918,2923,2929,2934,2939,2944,2949,2959,2964,2969,2974,2978,2983,2988,2993,2998,3006,3011,3017,3022,3027],{"questions":2905,"_type":45},[2906],{"question":1171,"answer":2907},"\u003Cp>Hi! My name is Salma, I’m currently based in Cairo, Egypt and I’m also connected to Mexico City.\u003C\u002Fp>\n",{"questions":2909,"_type":45},[2910],{"question":2552,"answer":2911},"\u003Cp>I make up-cycled sculptures, mostly wearable facial and body sculptures, out of found objects which I deconstruct and rebuild into new forms and creatures.\u003C\u002Fp>\n",{"images":2913,"size":84,"_type":57},[2914],{"_id":2915,"url":2916,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},850,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-13.jpg",1303,{"questions":2919,"_type":45},[2920],{"question":2921,"answer":2922},"\u003Cp>How did your interest in wearable objects begin?\u003C\u002Fp>\n","\u003Cp>It started with drawing. I have a notebook full of drawings of creatures which I wanted to translate into a more material form, using the body as a medium. At first, I just wanted to get these creatures closer to reality, so I adorned my face and made masks that leaned more towards being dramatic pieces of jewelry rather than wearable objects. I slowly improved my designs into more sturdy pieces that could also stand alone as sculptures. I’m still in the process of learning how to make these sculptures more wearable, I’m trying to craft lighter and more comfortable pieces.\u003C\u002Fp>\n",{"images":2924,"size":56,"_type":57},[2925],{"_id":2926,"url":2927,"alt":18,"caption":18,"credit":18,"width":2928,"height":2917},851,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-14.jpg",1854,{"images":2930,"size":56,"_type":57},[2931],{"_id":2932,"url":2933,"alt":18,"caption":18,"credit":18,"width":2928,"height":2917},852,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-13.jpg",{"questions":2935,"_type":45},[2936],{"question":2937,"answer":2938},"\u003Cp>What kind of objects are you most drawn to collecting?\u003C\u002Fp>\n","\u003Cp>I’m most drawn to objects that have a lot of depth to them. Whether it’s aesthetic, in terms of having details and moving parts that I can play around with in the deconstruction process. Or emotional, when I feel an object has an interesting past or curious story behind it that I can connect to. I don’t think there is a pattern to the things I collect unless I have a specific vision of a project to guide me in the collection process. Otherwise, I will usually go to landfills or flea markets and take whatever is calling to me.\u003C\u002Fp>\n",{"images":2940,"size":84,"_type":57},[2941],{"_id":2942,"url":2943,"alt":18,"caption":18,"credit":18,"width":2928,"height":2917},853,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-13.jpg",{"questions":2945,"_type":45},[2946],{"question":2947,"answer":2948},"\u003Cp>Are there cultural references or personal memories embedded in your pieces?\u003C\u002Fp>\n","\u003Cp>Definitely, I do this unintentionally. Because I collect things very intuitively, I’m naturally attracted to objects that spark up specific memories or resemblances in my mind, which end up appearing in my work.\u003C\u002Fp>\n",{"variant":176,"images":2950,"_type":73},[2951,2954],{"_id":2952,"url":2953,"alt":18,"caption":18,"credit":18,"width":2928,"height":2917},854,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-10.jpg",{"_id":2955,"url":2956,"alt":18,"caption":18,"credit":18,"width":2957,"height":2958},855,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-13.jpg",1446,1905,{"questions":2960,"_type":45},[2961],{"question":2962,"answer":2963},"\u003Cp>How do you connect your interest in renewable energy to your artistic work?\u003C\u002Fp>\n","\u003Cp>The main thing they have in common on the surface is the sustainability aspect, but I don’t think I have made a strong connection between them yet, as I’m still finishing my degree, and I never really enjoyed studying engineering up until recently, when I felt like I could merge the two practices together. I do draw a lot of inspiration from it though, being around machines and studying them is fascinating and it has influenced my creative process and my discipline a lot.\u003C\u002Fp>\n",{"images":2965,"size":84,"_type":57},[2966],{"_id":2967,"url":2968,"alt":18,"caption":18,"credit":18,"width":2957,"height":2958},856,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-14.jpg",{"questions":2970,"_type":45},[2971],{"question":2972,"answer":2973},"\u003Cp>Does the idea of fiction play a role in your pieces? If so, how?\u003C\u002Fp>\n","\u003Cp>Of course! There is always a story behind every piece I’ve created. Sometimes it’s an idea or an analogy expressed through it. Other times it’s driven more by fantasy and surrealism. I like to think each piece exists in its own alternate ecosystem, both as a creature and an artifact, and I bring it into this reality using my hands. I’m also really inspired by mythology, and I like to think of these pieces as part of a ritual, maybe the ritual is my own, such as the act of making itself, repeating the same thing over and over, then watching it evolve on its own. Other times, it feels like the ritual belongs to the fictional world the piece came from, an artifact of a digital age, born from excess and overconsumption.\u003C\u002Fp>\n",{"images":2975,"size":56,"_type":57},[2976],{"_id":823,"url":2977,"alt":18,"caption":18,"credit":18,"width":2957,"height":2958},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-10.jpg",{"questions":2979,"_type":45},[2980],{"question":2981,"answer":2982},"\u003Cp>Some of your work feels like futuristic armor, do you think of it that way?\u003C\u002Fp>\n","\u003Cp>I don’t usually think of it that way, but it’s a really interesting perspective. It definitely aligns with the idea of hybridizing the old and the new, the ancient and the futuristic, the mechanical and the biological, those kinds of themes are recurring in my practice.\u003C\u002Fp>\n",{"images":2984,"size":56,"_type":57},[2985],{"_id":2986,"url":2987,"alt":18,"caption":18,"credit":18,"width":2957,"height":2958},858,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-9.jpg",{"questions":2989,"_type":45},[2990],{"question":2991,"answer":2992},"\u003Cp>Your pieces blend the mechanical with the organic, how do you balance those elements?\u003C\u002Fp>\n","\u003Cp>I do this through mixing direct and subtle contrasts between nature and mechanics. I like creating parallels that feel obvious to me and to other people blend with hidden details and delicate additions that not everyone notices. It’s hard to balance between the two but somehow, they meet halfway, and it ends up working out.\u003C\u002Fp>\n",{"questions":2994,"_type":45},[2995],{"question":2996,"answer":2997},"\u003Cp>You mention cybernetics, how does that influence show up in your pieces\u003C\u002Fp>\n","\u003Cp>Theories from cybernetic philosophy have really influenced my work. I like to look at machines from a more sensitive, childlike perspective. In the past, I believed that technological advancements were becoming counterproductive and harmful to humans, but I’ve since realized that it’s not the technology itself, but the systems controlling it that are problematic. Now, I see technology as more of a victim and a companion. This shift in perspective is reflected in the playfulness that my pieces carry. I enjoy studying the relationships between humans, machines, and the natural world, especially as we reach a point where these boundaries are blurring, and different environments are merging and mutating.\u003C\u002Fp>\n",{"variant":1116,"images":2999,"_type":73},[3000,3003],{"_id":3001,"url":3002,"alt":18,"caption":18,"credit":18,"width":2957,"height":2958},859,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10-3.jpg",{"_id":3004,"url":3005,"alt":18,"caption":18,"credit":18,"width":2957,"height":2958},860,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-4.jpg",{"questions":3007,"_type":45},[3008],{"question":3009,"answer":3010},"\u003Cp>How do you attach such small, intricate components? What’s the most frustrating part of the process?\u003C\u002Fp>\n","\u003Cp>That’s my favorite part of making! To keep adding more details through these small components is very satisfying to me. I use resin and superglue if something is too small to make a mechanical connection. Since I don’t have access to a proper workspace\u002Ftraining yet, I make everything in my room using simple materials and techniques. I constantly lose these tiny pieces and spend hours looking for them, this can be quite frustrating.\u003C\u002Fp>\n",{"images":3012,"size":84,"_type":57},[3013],{"_id":3014,"url":3015,"alt":18,"caption":18,"credit":18,"width":2957,"height":3016},861,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-5.jpg",1536,{"questions":3018,"_type":45},[3019],{"question":3020,"answer":3021},"\u003Cp>Have you ever worn one of your pieces in public? If so, what were the reactions?\u003C\u002Fp>\n","\u003Cp>Yes, I have! Mostly hand objects and belts, the masks aren’t comfortable enough to wear for extended periods of time just yet. The reactions are mixed depending on the setting, but usually\u003Cbr \u002F>\npeople will look at them with curiosity and wanting to ask questions\u002Ftake a closer look, that makes me really happy.\u003C\u002Fp>\n",{"questions":3023,"_type":45},[3024],{"question":3025,"answer":3026},"\u003Cp>In what ways do you see yourself in the pieces you create?\u003C\u002Fp>\n","\u003Cp>I see a lot of myself in these pieces, not just my taste and the ideas in my mind, but also parts of my soul and identity. For example, I’m a person that likes to joke a lot, and I’m really inspired by what people think of as trashy and cringe. Recently, I’ve been experimenting with adding more humorous elements to the pieces I make, sort of like inside jokes I have with myself, which I later find resonate with people in different ways when I wear the pieces in public. I feel so embraced when that happens, and I want to keep adding more of these elements to my objects.\u003C\u002Fp>\n",{"questions":3028,"_type":45},[3029],{"question":638,"answer":3030},"\u003Cp>For now, you can find me on Instagram\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fsalmamohamedbaset\u002F?hl=en\">@salmamohamedbaset\u003C\u002Fa>\u003Cbr \u002F>\nand my new account\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fkhorda______\u002F?hl=en\">@khorda_____\u003C\u002Fa> in which I will be sharing only my works and processes.\u003C\u002Fp>\n",{"_type":6,"_id":3032,"slug":3033,"name":3034,"index":3035,"date":3036,"thumbnails":3037,"description":3046,"footerImage":3047,"categories":3050,"sections":3052},384,"384-2","Sara Kamar",24,"2025-04-30",{"quote":3038,"main":3039,"secondary":3045,"reverse":24},"\u003Cp>“I think I am interested in art because it doesn’t provide answers—it asks questions…”\u003C\u002Fp>\n",{"image":3040,"background":21,"fit":22},{"_id":3041,"url":3042,"alt":18,"caption":18,"credit":3043,"width":3044,"height":1817},427,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_4786s.jpg","Name",888,{"image":24,"background":137,"fit":56},"\u003Cp>Sara Kamar’s artistic journey continuously navigates between traditional and contemporary mediums, blending them to create dynamic works that give visual form to her concepts. Kamar’s work evolved into a vibrant practice that has been showcased in prominent art exhibitions across the UAE.\u003C\u002Fp>\n",{"_id":3048,"url":3049,"alt":18,"caption":18,"credit":18,"width":295,"height":653},863,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FFOOTER.jpeg",[3051],{"_id":127,"slug":146,"name":147},[3053,3057,3062,3067,3072,3079,3084,3092,3097,3102,3106,3111,3115,3120,3126,3131,3136,3141,3155,3161,3166,3172,3177,3182,3187],{"questions":3054,"_type":45},[3055],{"question":1766,"answer":3056},"\u003Cp>I am Sara Kamar, a Syrian artist based in the UAE.\u003C\u002Fp>\n",{"questions":3058,"_type":45},[3059],{"question":3060,"answer":3061},"\u003Cp>Can you describe your practice in a few words?\u003C\u002Fp>\n","\u003Cp>My practice is evolving quickly and it is not confined to one medium or topic. I tend to gravitate towards making art that isn’t “safe” or not in my comfort zone. Currently the topics I am exploring are mainly existential with a focus on non-traditional mediums such as making analog drawing machines.\u003C\u002Fp>\n",{"images":3063,"size":84,"_type":57},[3064],{"_id":3065,"url":3066,"alt":18,"caption":18,"credit":18,"width":1790,"height":2167},864,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_6041-scaled.jpeg",{"questions":3068,"_type":45},[3069],{"question":3070,"answer":3071},"\u003Cp>What first sparked your interest in creating art and how has that evolved over time?\u003C\u002Fp>\n","\u003Cp>I think I am interested in art because it doesn’t provide answers—it asks questions. I have always wanted to be an artist. I hated school. I’ve even tried to get an architecture degree but that lasted only two years before I realized that’s not where I see myself in the future. I guess I am lucky to have this definite passion from a young age and being brave enough to be super stubborn about it. I’m learning a lot everyday but there is one thing I know for sure; I do NOT want to make boring art.\u003C\u002Fp>\n",{"images":3073,"size":84,"_type":57},[3074],{"_id":3075,"url":3076,"alt":18,"caption":18,"credit":18,"width":3077,"height":3078},865,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-14.jpg",2013,1003,{"questions":3080,"_type":45},[3081],{"question":3082,"answer":3083},"\u003Cp>You move between traditional and contemporary mediums, was that an intentional decision or something that developed naturally?\u003C\u002Fp>\n","\u003Cp>Honestly, it was something that developed pretty naturally. I’ve always been drawn to the tactile nature of traditional mediums (charcoal, ink, oil paint) and how it forces me to slow down in the process which really grounds me. But at the same time, I cannot ignore the pull of contemporary tools and methods. There’s something really exciting about pushing boundaries and experimenting with newer technologies\u002Fconceptual approaches.\u003Cbr \u002F>\nI think it started as curiosity more than anything. Like, “What happens if I combine this classical technique with this unexpected material or format?” Over time, that back-and-forth just became part of my process. I don’t really see a hard line between traditional and contemporary anymore, it’s all just language for expression. So I follow the work, and the medium usually reveals itself in the process.\u003C\u002Fp>\n",{"variant":1116,"images":3085,"_type":73},[3086,3090],{"_id":3087,"url":3088,"alt":18,"caption":18,"credit":18,"width":357,"height":3089},866,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fcamera-obsecura-3_1.jpg",1404,{"_id":1747,"url":3091,"alt":18,"caption":18,"credit":18,"width":357,"height":3089},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fcamera-obsecura-1_1.jpg",{"questions":3093,"_type":45},[3094],{"question":3095,"answer":3096},"\u003Cp>Your work often captures small, unassuming moments, what draws you to the everyday and the unnoticed?\u003C\u002Fp>\n","\u003Cp>There’s a kind of poetry in those in-between moments in the everyday that I’ve always been drawn to. I think it started with this deep curiosity about how much meaning can live in something seemingly mundane. It’s also that tension between the meaninglessness and the meaningful that I find compelling.\u003C\u002Fp>\n\u003Cp>I guess for me, it’s a way of slowing down. In a world that moves so fast, paying attention to the small things feels like a form of resistance. It’s about presence, observation, and honoring the beauty in what’s familiar or fleeting. And when I give attention to those moments it feels like I’m preserving something ephemeral, like saying, this mattered, even if just for a second.\u003C\u002Fp>\n\u003Cp>Plus, there’s a universality to it. Everyone knows what it’s like to catch a quiet moment and feel something shift inside.\u003C\u002Fp>\n",{"questions":3098,"_type":45},[3099],{"question":3100,"answer":3101},"\u003Cp>In ‘Existence’ The work suggests a letting-go of narrative or legibility. Have you found that this openness invites more personal interpretations from your viewers?\u003C\u002Fp>\n","\u003Cp>Absolutely. With Existence, stepping away from a clear narrative was very intentional, it was about creating space rather than filling it. It also raises a deeper question about existence itself whether it holds inherent meaning, or if meaning is something we construct in order to endure the weight of being.\u003C\u002Fp>\n\u003Cp>What’s been really beautiful is seeing how that openness gives people permission to interpret the work through their own lens. Some see human-like emotion in the drawing machine, through the way machine struggles to make marks with the charcoal. Some see memory, some just feel a kind of atmosphere, and none of it is wrong. That ambiguity becomes a point of connection. It invites a slower kind of looking, where people can linger and let the work unfold for them over time in front of their eyes.\u003C\u002Fp>\n\u003Cp>In a way, it’s about trust. Trusting the viewer to meet the work halfway. And I think that makes the experience more intimate, more personal.\u003C\u002Fp>\n",{"images":3103,"size":84,"_type":57},[3104],{"_id":1157,"url":3105,"alt":18,"caption":18,"credit":18,"width":1061,"height":295},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_4994-rotated.jpeg",{"questions":3107,"_type":45},[3108],{"question":3109,"answer":3110},"\u003Cp>Tell us more about ‘Marshmallows on Sticks’ how do the sticks and ‘marshmallows’ shape the structure’s meaning?\u003C\u002Fp>\n","\u003Cp>Despite the playful title, Marshmallows on Sticks isn’t really about the yummy treat you can toast. The title references the form of the sculpture. The work is actually rooted in routine, specifically, the passage of time and the quiet repetition of daily tasks. Each stick in the sculpture represents the amount of time it took me to complete a mundane task—things like brushing my teeth, boiling water, waiting for laundry. I’d measure those durations and translate them into physical lengths, essentially turning time into something tangible.\u003C\u002Fp>\n\u003Cp>The “marshmallows” are 3D printed forms which act almost like joints for the wooden sticks. Their light, almost absurd quality contrasts with the quiet rigor behind the work’s construction. Together, the elements create a kind of physical diary, a record of time that’s both personal and abstract.\u003C\u002Fp>\n\u003Cp>So the meaning isn’t in the title, it’s in the rhythm, the restraint, the everyday rituals made visible.\u003C\u002Fp>\n",{"images":3112,"size":84,"_type":57},[3113],{"_id":1665,"url":3114,"alt":18,"caption":18,"credit":18,"width":2052,"height":109},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-11.jpg",{"questions":3116,"_type":45},[3117],{"question":3118,"answer":3119},"\u003Cp>You’ve mentioned wanting to create space for reflection and connection, what kind of conversations do you hope your work opens?\u003C\u002Fp>\n","\u003Cp>I hope the work opens space for questions, both internal and between people. Not necessarily big, loud debates, but those slower, more thoughtful exchanges that come from really sitting with something. When someone encounters the work, I want them to feel invited in, not instructed.\u003C\u002Fp>\n\u003Cp>I’m less interested in telling people what to think and more interested in what comes up for them when they spend time with the work. If it leads to a conversation that feels honest or unexpected, even quietly so, then I feel like the work has done something meaningful.\u003C\u002Fp>\n",{"images":3121,"size":84,"_type":57},[3122],{"_id":3123,"url":3124,"alt":18,"caption":18,"credit":18,"width":3125,"height":109},870,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-14.jpg",1390,{"questions":3127,"_type":45},[3128],{"question":3129,"answer":3130},"\u003Cp>In your figurative paintings, such as Two Figures, One is Desperate. who or what are these figures confronting?\u003C\u002Fp>\n","\u003Cp>Two Figures, One is Desperate is very much a self-portrait, but it also moves beyond the personal, it becomes a kind of emotional landscape. The figures aren’t confronting each other so much as they’re caught in a shared tension, maybe even trying to reach each other across it. One is clearly more raw, exposed, desperate to hang on, but the other isn’t indifferent. There’s a kind of quiet witnessing happening, which to me, speaks to love.\u003C\u002Fp>\n\u003Cp>They’re confronting the space between them: misunderstanding, longing, fear, tenderness, all the messiness that comes with being close to someone. So while it is about the self, it’s also about the emotional push and pull of loving and being loved. That strange duality of connection and distance that can exist even in intimacy. I wanted the viewer to feel that complexity, where vulnerability meets presence, and where love doesn’t always offer resolution.\u003C\u002Fp>\n",{"images":3132,"size":56,"_type":57},[3133],{"_id":3134,"url":3135,"alt":18,"caption":18,"credit":18,"width":357,"height":888},871,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fsara-kamar-two-figures-one-is-desperate.-oil-on-canvas-50x-70cm-2024.jpg",{"questions":3137,"_type":45},[3138],{"question":3139,"answer":3140},"\u003Cp>Is your ‘Analog Series’ rooted in a specific memory?\u003C\u002Fp>\n","\u003Cp>Yes, it comes from a very specific moment, a kind of pivotal event that shifts everything, whether it’s love, death, or something else entirely. It’s about that point where your world quietly rearranges itself, and you’re left navigating the emotional aftermath in a way that feels both overwhelming and strangely isolating.\u003C\u002Fp>\n\u003Cp>Using traditional black and white analog photography was intended to capture the timelessness of these emotions. The images lack color just like the emotional space you enter after something life-altering happens. There’s this weight of pain or uncertainty, but it’s also very still, very internal. It’s about moving through that unfamiliar emotional terrain on your own, without a clear roadmap.\u003C\u002Fp>\n\u003Cp>So while it’s rooted in a personal memory, it’s more about exploring that universal experience of being changed by something and quietly figuring out how to exist in the world again afterward.\u003C\u002Fp>\n",{"first":3142,"second":3146,"third":3150,"variant":94,"_type":206},{"_id":3143,"url":3144,"alt":18,"caption":18,"credit":18,"width":295,"height":3145},872,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fsara-film001-4.jpg",899,{"_id":3147,"url":3148,"alt":18,"caption":18,"credit":18,"width":3149,"height":2955},873,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fsara-film002.jpg",1412,{"_id":3151,"url":3152,"alt":18,"caption":18,"credit":18,"width":3153,"height":3154},874,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fsara-film017-2.jpg",1680,1123,{"images":3156,"size":56,"_type":57},[3157],{"_id":3158,"url":3159,"alt":18,"caption":18,"credit":18,"width":1753,"height":3160},875,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fsara-film001-2.jpg",1421,{"questions":3162,"_type":45},[3163],{"question":3164,"answer":3165},"\u003Cp>Is there a piece or exhibition that felt like a turning point for you?\u003C\u002Fp>\n","\u003Cp>Yes, definitely. My Existence, That Absurd Thing felt like a turning point for me. It was a pivotal exhibition that allowed me to explore new depths in my work. The support I received from Moustafa Thaer founder of Thaer Select gave me the confidence to fully dive into that concept with the painting series, which was rooted in personal experience but also spoke to something much larger, how we all navigate emotional and existential shifts.\u003C\u002Fp>\n\u003Cp>That show was a shift in my approach to art professionally, it also marked a moment where I felt seen in a way that validated not just my work, but my process.\u003C\u002Fp>\n\u003Cp>The connection and momentum that followed—leading to Nausea in Dubai—felt like the natural progression of that energy. I feel so lucky and grateful and it definitely was a turning point in my journey as an artist.\u003C\u002Fp>\n",{"images":3167,"size":84,"_type":57},[3168],{"_id":3169,"url":3170,"alt":18,"caption":18,"credit":18,"width":357,"height":3171},876,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_5563.jpeg",1068,{"questions":3173,"_type":45},[3174],{"question":3175,"answer":3176},"\u003Cp>Do you ever work on pieces just for yourself, without the intention of showing them?\u003C\u002Fp>\n","\u003Cp>Absolutely. Not everything I create is meant for an audience or an exhibition. Sometimes, I make pieces simply because I need to express something for myself (they’re usually bad). These pieces often feel more raw or personal, and there’s a freedom in creating without the pressure of presentation. It’s a kind of release or catharsis, and sometimes it’s just about the act of making, not the final result.\u003C\u002Fp>\n\u003Cp>Those works might never see the light of day, and that’s perfectly fine. They help me stay connected to the process itself, rather than the outcome. I think it’s important to have that space to create without expectations. It allows me to experiment more freely, and in the end, it strengthens the work I share with others. Some of my most meaningful pieces have come from that private, unguarded space.\u003C\u002Fp>\n",{"questions":3178,"_type":45},[3179],{"question":3180,"answer":3181},"\u003Cp>Are there themes or feelings you’re still hesitant to explore in your work?\u003C\u002Fp>\n","\u003Cp>I’m curious and I try to always give my all. I think that curiosity is what pushes you to explore all kinds of themes and ideas, even the ones that might feel out of reach. The key is that willingness to intentionally find loopholes and subtlety.\u003C\u002Fp>\n",{"images":3183,"size":56,"_type":57},[3184],{"_id":3185,"url":3186,"alt":18,"caption":18,"credit":18,"width":2706,"height":109},877,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-14.jpg",{"questions":3188,"_type":45},[3189],{"question":638,"answer":3190},"\u003Cp>You can find me petting the cats on the streets of Sharjah, collecting shells on the beaches of Fujairah, or on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fstudiosarakamar\u002F?hl=en\">@studiosarakamar\u003C\u002Fa> where I post art and other less serious stuff.\u003C\u002Fp>\n",{"_type":6,"_id":3192,"slug":3193,"name":3194,"index":3195,"date":3196,"thumbnails":3197,"description":18,"footerImage":3207,"categories":3210,"sections":3212},387,"387-2","Nicolas Guillamot Vallribera",25,"2025-05-02",{"quote":3198,"main":3199,"secondary":3203,"reverse":24},"\u003Cp>“I simply tried to transform my constraints into opportunities, while having as much fun as possible…”\u003C\u002Fp>\n",{"image":3200,"background":21,"fit":22},{"_id":3201,"url":3202,"alt":18,"caption":18,"credit":18,"width":653,"height":503},388,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F15aaa.jpg",{"image":3204,"background":137,"fit":511},{"_id":3205,"url":3206,"alt":18,"caption":18,"credit":18,"width":357,"height":2728},391,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F21aaav.jpg",{"_id":3208,"url":3209,"alt":18,"caption":18,"credit":18,"width":653,"height":503},389,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FIMG_8496aa.jpg",[3211],{"_id":33,"slug":34,"name":35},[3213,3217,3221,3231,3236,3245,3250,3255,3260,3265,3270,3278,3283,3291,3296,3301,3306,3311,3316,3321,3326],{"questions":3214,"_type":45},[3215],{"question":1766,"answer":3216},"\u003Cp>My name is Nicolas Guillamot Vallribera. I’m from Toulouse in the south of France but I’m\u003Cbr \u002F>\ncurrently based in Paris.\u003C\u002Fp>\n",{"questions":3218,"_type":45},[3219],{"question":3060,"answer":3220},"\u003Cp>It’s a hybrid creative practice combining research and on-site investigation, with the design and crafting of objects and spaces, or tools and devices. I make things from materials found on the street, with a maximum economy of means. Everything I do is experimental at the moment. It’s a personal practice of design, which is only initiated in reaction to contemporary issues, and each time through a concrete link to a context or problem. My goal is to propose alternatives to our saturated model, whether in the way we create, consume, behave or live… To do so, exploration, reuse, do-it-yourself and collective practices become the stages of my creative process, in which I try to suggest new ways of practicing everyday life and the city, of creating and democratizing know-how, of looking at and interacting with the world.\u003C\u002Fp>\n",{"variant":176,"images":3222,"_type":73},[3223,3228],{"_id":3224,"url":3225,"alt":18,"caption":18,"credit":18,"width":3226,"height":3227},881,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-15.jpg",1471,1961,{"_id":3229,"url":3230,"alt":18,"caption":18,"credit":18,"width":3226,"height":3227},882,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-15.jpg",{"questions":3232,"_type":45},[3233],{"question":3234,"answer":3235},"\u003Cp>What drew you to working with public space?\u003C\u002Fp>\n","\u003Cp>Many things. First and foremost, public space is for me, beyond its “physical characteristics” and composition, both a reflection of the state of society, and the materialization of all the constraints and powers that control society.\u003C\u002Fp>\n\u003Cp>Considering my motivations, for me it’s the best place to question people about their daily lives, their relationship with others, and above all their relationship to all the social, ecological and political issues that are becoming progressively more pressing. In today’s big cities, public spaces are more and more like a kind of staging area, distancing us from the most essential things and, above all, from each other. It’s a space where we circulate like crazy, where we consume, and where we sit where we’re told to sit. That’s why I try to make it my playground. The public space is the best place to raise awareness, stimulate citizen participation and the power to act, and put forward, within the “urban machine”, ways of reappropriating our environment, slowing down, looking at and using in a different way what surrounds us on a daily basis.\u003C\u002Fp>\n\u003Cp>Otherwise, I love walking and exploring, meeting people and sharing. Working with public space has therefore enabled me to make my work an object of reaction and debate, as well as to develop my practice and appropriation of the city. While it raises many sociological reflections and consumerist excesses, it is also a place that is full of opportunities: whether in terms of the creative material to be found there, or the people you can meet there by coincidence (hard to make it short on this one).\u003C\u002Fp>\n",{"first":3237,"second":3239,"third":3242,"variant":150,"_type":206},{"_id":1276,"url":3238,"alt":18,"caption":18,"credit":18,"width":3226,"height":3227},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-15.jpg",{"_id":3240,"url":3241,"alt":18,"caption":18,"credit":18,"width":3226,"height":3227},884,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-14.jpg",{"_id":3243,"url":3244,"alt":18,"caption":18,"credit":18,"width":3226,"height":3227},885,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-12.jpg",{"questions":3246,"_type":45},[3247],{"question":3248,"answer":3249},"\u003Cp>In general, how does your curiosity of ‘the public’ inspire you? Do you consider yourself a curious person?\u003C\u002Fp>\n","\u003Cp>Yes, I think I am. Discovering places and meeting people makes me ask a lot of questions. How we look at each other in the street, how we interact, how we use the city, how we evolve in it…. I’m always asking myself, why is it like this and not another way? And that’s what inspires me and motivates me to try and stimulate new things in people, especially in a world that in my eyes is moving more and more towards individualism, standardization and other capitalist abuses.\u003C\u002Fp>\n",{"images":3251,"size":56,"_type":57},[3252],{"_id":3253,"url":3254,"alt":18,"caption":18,"credit":18,"width":2500,"height":3227},886,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-15.jpg",{"questions":3256,"_type":45},[3257],{"question":3258,"answer":3259},"\u003Cp>How \u002Fwhy did you transition from a more traditional design education to a performative practice?\u003C\u002Fp>\n","\u003Cp>My 5 years of study and my first professional experiences were characterized by a mainly “digital” or conceptual design practice. The “finality” of each project came down to images and various documents. Then I discovered that space-related projects were very time-consuming and complex to carry out in real life (due to financial constraints, coordination of players or standards), and that most of the time they were too out-of-touch, as they were conceived and carried out by people working in offices. From then on, I decided I wanted to do something that would go faster, that could appear anywhere. Something closer to people, more accessible, even if it meant reducing the scale of the project. When I left school, I was dying to get closer to tangible design practice, to finally be able to craft what I design, to test it in real time, and to gather outside feedback on my work, all directly in the field. I needed spontaneity of action. Working in the street gave me the material resources to make things from scratch, an infinite number of spaces to test my work, and people to share it with. So the transition was straightforward, from  computer-generated projects to the real world, where as a young freelancer I have very few human and material resources at my disposal. I simply tried to transform my constraints into opportunities, while having as much fun as possible.\u003C\u002Fp>\n",{"images":3261,"size":84,"_type":57},[3262],{"_id":3263,"url":3264,"alt":18,"caption":18,"credit":18,"width":2500,"height":3227},887,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-15.jpg",{"questions":3266,"_type":45},[3267],{"question":3268,"answer":3269},"\u003Cp>Was there a specific moment or discovery that shaped the direction of this project?\u003C\u002Fp>\n","\u003Cp>Me, arriving in Paris as a young country boy full of ambition and discovering some of the realities of the job:\u003C\u002Fp>\n\u003Cp>– Projects shaping the city, which are closer to political and normative decisions than the real needs of the people targeted, and above all which take far too long to come to reality to respond to the objectives targeted at their genesis.\u003C\u002Fp>\n\u003Cp>-Design that, in the way it is taught, practiced and presented to the public (galleries, exhibitions, design week…) has become too elitist, much more focused on talk, aesthetics and, of course, profit, than on real world problems. Of course, all this is just a personal feeling and point of view, but it’s at the foundation of my reflection.\u003C\u002Fp>\n\u003Cp>– I’m also thinking about my encounter with @2m26 in Japan, whose lifestyle dynamics and vision of design greatly inspired me and gave me the motivation to get started and do what I’m doing today.\u003C\u002Fp>\n",{"variant":1116,"images":3271,"_type":73},[3272,3275],{"_id":3044,"url":3273,"alt":18,"caption":18,"credit":18,"width":2500,"height":3274},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-11.jpg",1629,{"_id":3276,"url":3277,"alt":18,"caption":18,"credit":18,"width":2500,"height":3274},889,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-10.jpg",{"questions":3279,"_type":45},[3280],{"question":3281,"answer":3282},"\u003Cp>What inspired your creation of objects with such stripped-back and simple forms?\u003C\u002Fp>\n","\u003Cp>It’s a mix between my passion for Japanese culture and minimalism, the makers’ dynamic and DIY, and the desire to create things that are accessible to everyone thanks to their simplicity, that anyone can potentially reproduce with limited means. In contrast, the aesthetics and unnecessary complexity of commercial design, and globalized standards of shape and size, show me what I don’t want to do. This is what makes me want to show that design is also the fine DIY, as simple as it is chaotic, that anyone can do with a little willingness and elbow grease.\u003C\u002Fp>\n",{"variant":1116,"images":3284,"_type":73},[3285,3288],{"_id":3286,"url":3287,"alt":18,"caption":18,"credit":18,"width":2500,"height":3274},890,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10-4.jpg",{"_id":3289,"url":3290,"alt":18,"caption":18,"credit":18,"width":2500,"height":3274},891,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-5.jpg",{"questions":3292,"_type":45},[3293],{"question":3294,"answer":3295},"\u003Cp>You describe yourself as a “designer-hunter-gatherer.” What does that mean to you?\u003C\u002Fp>\n","\u003Cp>A return to the essential, and a way of creating a stimulating imagery around my practice.\u003Cbr \u002F>\nTo be a hunter-gatherer is to do with what you find, as best you can, and, above all, to regain the ability to satisfy your needs and “adapt” to your environment by your own means. It’s a way of saying that, basically, we’re all capable of doing things. (Creating your own furniture, shaping your habitat, exploring and appropriating space, resting…) This is also how I define my position as a designer. It allows me to set a framework for what I consider relevant or not to do, but it’s also a fun way of blending my everyday life with my creative work.\u003C\u002Fp>\n\u003Cp>Every unexpected find becomes a creative opportunity, and finding a pile of wood while grocery shopping becomes a sign. As time goes by, you take a different look at the urban machine in which you evolve on a daily basis, and living frugally, without unnecessary things, becomes enjoyable. I don’t define myself as a primitive man either, but I think that getting back to the essential in the way we create, behave and consume is obviously beneficial.\u003C\u002Fp>\n",{"images":3297,"size":56,"_type":57},[3298],{"_id":3299,"url":3300,"alt":18,"caption":18,"credit":18,"width":2500,"height":3274},892,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-6.jpg",{"questions":3302,"_type":45},[3303],{"question":3304,"answer":3305},"\u003Cp>Has the public ever interacted with your furniture in an unexpected way?\u003C\u002Fp>\n","\u003Cp>Not for the moment. I often see people intrigued, turning around in the street, but in Paris at least, they rarely feel like approaching and asking questions, and even less like sitting around. The crossbow chair provokes a great curiosity and some rather amusing interpretations. I’ve been asked whether it’s an easel or a catapult.\u003C\u002Fp>\n",{"questions":3307,"_type":45},[3308],{"question":3309,"answer":3310},"\u003Cp>What’s the significance of making the pieces wearable or portable? Is it practical,\u003Cbr \u002F>\nsymbolic, or both?\u003C\u002Fp>\n","\u003Cp>Both.\u003Cbr \u002F>\nFrom a practical point of view, of course, it’s easy to get around and set up without too many\u003Cbr \u002F>\nProblems. On a symbolic level, having portable objects transforms each creation into a veritable tool for urban crossing, a sort of body extension that enables you to experience your environment differently. It also stimulates our imaginations. What would our public spaces be like if everybody walked around with a chair like they walk around with a phone, and if we settled in public space like we settle in our garden? It’s just one of many questions, but it’s always interesting to discover what people I meet on the street are wondering about.\u003C\u002Fp>\n",{"questions":3312,"_type":45},[3313],{"question":3314,"answer":3315},"\u003Cp>In general, when you move through the city (with your furniture or without) how do you choose where to stop and settle?\u003C\u002Fp>\n","\u003Cp>It depends. Most of the time, it’s a random, instinctive, gut feeling. I’ll move to a specific\u003Cbr \u002F>\nneighborhood because I like its energy or architecture, and then see what I find, or who I meet. Basically, I have a taste for areas that are a bit neglected, that aren’t seen as “common” or “appropriable” spaces.\u003C\u002Fp>\n\u003Cp>I also sometimes choose strategic locations, places where people pass through, if I deliberately want to provoke encounters, chat with people and get their feedback.\u003C\u002Fp>\n",{"questions":3317,"_type":45},[3318],{"question":3319,"answer":3320},"\u003Cp>Is there a particular design or non-design memory that has stayed with you?\u003C\u002Fp>\n","\u003Cp>Yes, there’s a lot, but I would say:\u003Cbr \u002F>\nMy first two years in Paris, where I saw everything I didn’t want to do or become. All that, plus the support of the people I met here (friends and professionals) helped me build my confidence and, above all, to know what I wanted to do. My trip to Japan last year, where I saw things and met people who showed me that there are infinite ways of creating and practicing your daily life, but also many ways of working and, above all, living your life.\u003Cbr \u002F>\nAnd of course the first time I stepped outside with a chair on my back.\u003C\u002Fp>\n",{"questions":3322,"_type":45},[3323],{"question":3324,"answer":3325},"\u003Cp>Are there other cities you’d love to activate through this project?\u003C\u002Fp>\n","\u003Cp>Any city in the world I can get to. I just want to see and find different things to test my creative flexibility and, above all, meet people and different points of view. It doesn’t matter where.\u003C\u002Fp>\n",{"questions":3327,"_type":45},[3328],{"question":638,"answer":3329},"\u003Cp>Right now, you can find me on the streets of Paris, more specifically in the 11th and 12th\u003Cbr \u002F>\narrondissements. That’s where I currently show my work.\u003Cbr \u002F>\nMore simply, you can find me on Instagram @nicolas.guillamot.\u003C\u002Fp>\n",{"_type":6,"_id":3331,"slug":3332,"name":3333,"index":3334,"date":3335,"thumbnails":3336,"description":18,"footerImage":3343,"categories":3344,"sections":3348},392,"bahaeddine-tounekti","Bahaeddine Tounekti",26,"2025-05-04",{"quote":3337,"main":3338,"secondary":3342,"reverse":24},"\u003Cp>“Until that one unexpected moment and suddenly everything falls into place and everything you’ve been through makes sense…”\u003C\u002Fp>\n",{"image":3339,"background":137,"fit":56},{"_id":3340,"url":3341,"alt":18,"caption":18,"credit":18,"width":1790,"height":503},393,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FMV5BMDAxNzliYWYtYmYxMC00ODc0LWI2M2YtNDdhNTRhYTg2MTY4XkEyXkFqcGc@._V1_.jpg",{"image":24,"background":21,"fit":22},{"_id":3340,"url":3341,"alt":18,"caption":18,"credit":18,"width":1790,"height":503},[3345],{"_id":1027,"slug":3346,"name":3347},"film","Film",[3349,3353,3357,3364,3369,3378,3383,3388,3393,3400,3405,3410,3415,3422,3427,3431,3436,3442,3447,3454,3459,3468,3473,3480,3485,3491,3496,3500],{"questions":3350,"_type":45},[3351],{"question":1171,"answer":3352},"\u003Cp>My name is Bahaeddine Tounekti and I have been based in Beirut for the past 3 years and a half now.\u003C\u002Fp>\n",{"questions":3354,"_type":45},[3355],{"question":2552,"answer":3356},"\u003Cp>Oh!!!!!! Ammmmmmm!\u003Cbr \u002F>\nWell, I tell stories that I make in my head. Sometimes I help others tell their stories too and turn them into videos that some people like and find them inspiring.\u003C\u002Fp>\n",{"images":3358,"size":84,"_type":57},[3359],{"_id":3360,"url":3361,"alt":18,"caption":18,"credit":18,"width":3362,"height":3363},1061,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-17.jpg",1004,1255,{"questions":3365,"_type":45},[3366],{"question":3367,"answer":3368},"\u003Cp>What first drew you to filmmaking, and what made you stay?\u003C\u002Fp>\n","\u003Cp>Oh, dear God, that is a real long story. I am not even kidding. It’s almost a 30 years long of a story. I will try not to bore you. I think I inherited the story telling skills from my mom . She is magnificent, she cancels every other entertainment system until today she still fascinates me.\u003C\u002Fp>\n\u003Cp>When I was a kid I use to watch things on tv and when I go to bed I use to reimagine these stories with different endings adding to them my favorite characters from different shows or films. it used to be my favorite thing to do. I don’t know where I lost that exactly. All what I remember that I had a pretty tough teenage years where I use to hate everything and everyone. I feel sorry for putting my parents through that. I love them dearly for keeping up with it and to be so understanding and mostly keeping me alive. I was a wild beast. I don’t think I understood what “NO” means back then. Bless my parents, they are the real heroes.\u003C\u002Fp>\n\u003Cp>Years passed and I got a scholarship to the US at the age of 21 and at the end of my 22 nd year I got a job as a cabin crew in the UAE and I did that for 5 years. I traveled the world and I have lived a life that many people dream of living. But through it all I wasn’t happy. Something was missing, I didn’t know what it was. At that point all my friends had a plan for their lives they had goals and dreams to achieve and I felt like I was traveling the world looking for something that I didn’t know what it was exactly. It scared me to death. I feared for my future. The idea killed me from the inside. It led me to depression and stress.\u003C\u002Fp>\n\u003Cp>I remember I was 25 at the time and I was on a trip to Nagoya, Japan. I promised myself that I wouldn’t leave without buying myself a gift that will get me out of that situation that I was at. Our hotel was connected to this huge tower mall that every floor is specialized in something. I remember I left that building with a camera and I was very happy. I didn’t know why but I was the happiest human being at the time. I took a decision to pursue a career in film but I didn’t know how. Taking the decision wasn’t enough. I had to let go of all the comfort that I was living in. Couple of years forward Covid hit and I was let go by the company like so many others and I remember one of my friends asking me “why are you so happy” and I remember saying “because I can be what I always wanted to be.” What was surprising in the whole thing was the unconditional support of my family, emotionally and financially. My family is my greatest gift in this life from God. He knew that my path wouldn’t be easy so he gave me the most supportive family ever.\u003C\u002Fp>\n\u003Cp>The year was 2020, I started the year in the UAE, in June I was in Tunisia with my parents for the summer, end of August I was in Turkey and that’s where I started film school. I did a year in Turkey then I transferred all of my credits to a university in Lebanon because I needed to leave I lost all emotional connection that I use to have to the city of Istanbul and staying their start feeling like a trap. Even though my GPA was 4.0 and my university back in turkey was offering a nice deal that it was very hard to pass on. Moving to Beirut was the hardest thing I have ever done but it was what I need it to shape me to the artist I am today. In many ways this broken place have healed me and we built a sort of connection that it makes this city a huge part of me now. Here I spent my first winter alone, I didn’t get the chance to develop a comfort zone, I learned how to enjoy my own company, I learned how to deal with my feelings instead of disregarding them. I have been on my first set in here. I wrote and produced my first film in here and I won my first award in here. it’s a love story that I can’t explain.\u003C\u002Fp>\n\u003Cp>And if you are asking me why I stayed it’s because that the whole journey was leading to it. how can I not and this was my journey. I don’t think I had a choice but to just do what it has to be done. Make a mistake after anther until I ended up here and be the artist I am today and live to make films.\u003C\u002Fp>\n",{"variant":1116,"images":3370,"_type":73},[3371,3375],{"_id":3372,"url":3373,"alt":18,"caption":18,"credit":18,"width":3374,"height":3363},1063,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-15.jpg",1793,{"_id":3376,"url":3377,"alt":18,"caption":18,"credit":18,"width":3362,"height":3363},1062,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-17.jpg",{"questions":3379,"_type":45},[3380],{"question":3381,"answer":3382},"\u003Cp>Has being from Sidi Bou Said shaped your aesthetics or way of seeing the world in any lasting way?\u003C\u002Fp>\n","\u003Cp>Being from Sidi Bou Said (the city of art) has everything to do with it. It’s like you are being born special. So much culture in the lifestyle, in the architecture, in the daily events, in the art galleries, the beaches, the tourists, the unbelievably rich history, the fact that it is 5 minutes away from the ruins of the capital of the Empire of Carthage. Did you know that Sidi Bou Said goes back to 13 th century. It was the first village with a Mediterranean style ( white and blue) it was the inspiration for many famous European cities today like Santorini. Living there forces you to inhale so much beauty. It shapes the way you look at things and approaches art basically.\u003C\u002Fp>\n\u003Cp>Both my middle school (Carthage Dermich) and my high school (Carthage Presidence) where on the beach we had the best views ever. I remember that use to select classes in high school in the morning period that were given on the second floor so I get the best of the view.\u003C\u002Fp>\n\u003Cp>The best memories that I have from living in\u003Cbr \u002F>\nSidi Bou Said are :\u003Cbr \u002F>\nThe smell of Jasmin all around the city especially in the morning. The smell of the city in winter time is unforgettable. Summer time when my dad use to take us to the beach at sunrise hour, so the whole beach is ours to play and be as crazy as we want. Also not to get sun burned and before the beach gets dirty.\u003C\u002Fp>\n\u003Cp>Growing in Sidi Bou Said didn’t only shape my vision to the world it made it hard for me to adopt in living in cities or countries that don’t carry a culture or a rich history. I think it’s one of the main reasons why I love living in Lebanon.\u003C\u002Fp>\n",{"images":3384,"size":56,"_type":57},[3385],{"_id":3386,"url":3387,"alt":18,"caption":18,"credit":18,"width":19,"height":185},1064,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1000015321.jpg",{"questions":3389,"_type":45},[3390],{"question":3391,"answer":3392},"\u003Cp>You describe your style as “organized chaos,” can you unpack what that means to you?\u003C\u002Fp>\n","\u003Cp>It’s very simple, just like life. You think everything you’re going through is a mess and a chaos. It doesn’t give you chance to be bored. Until that one unexpected moment and suddenly everything falls into place and everything you’ve been through make sense and you are happy that you went through it in first place and you are not the same anymore.\u003C\u002Fp>\n",{"images":3394,"size":84,"_type":57},[3395],{"_id":3396,"url":3397,"alt":18,"caption":18,"credit":18,"width":3398,"height":3399},1065,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-14.jpg",1465,1816,{"questions":3401,"_type":45},[3402],{"question":3403,"answer":3404},"\u003Cp>How do you direct emotion on set, especially with non-verbal or movement-based work like It Takes Winter to Spring?\u003C\u002Fp>\n","\u003Cp>Being Tunisian has helped a lot to be honest. Since talking with hands and including body language it’s a huge part of our dialogue. On set there was a lot of explanations there were a lot of conversations I recall vividly that whenever I start explaining the scene to my actors the whole set goes quiet and I suddenly have 23 people listening, you can hear a pen drop. I remember at some point I was on the floor or on my knees. Besides that I don’t shy away from bringing my own experience or my own painful feelings and simplify them and explain them with colors and movement and facial expression and much simple examples so my gaffer can understand the kind of lighting that I need and my cinematographer can give me the perfect frame and the perfect mood and my actors can give me the best out of the characters.\u003C\u002Fp>\n",{"images":3406,"size":84,"_type":57},[3407],{"_id":504,"url":3408,"alt":18,"caption":18,"credit":18,"width":3409,"height":3363},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-18.jpg",2298,{"questions":3411,"_type":45},[3412],{"question":3413,"answer":3414},"\u003Cp>What makes a story worth telling, in your eyes?\u003C\u002Fp>\n","\u003Cp>To me it’s all about the morals and the feelings that a story should land on the audience. The trip that we take them on . As directors we have an unexplainable access to people emotions and subconscious so we have to honor that trust and deliver something that is worth watching. Especially in nowadays, if they are willing to put their phones down and land us some of their time, that is a huge responsibility. I believe that’s how serious story tellers should take it.\u003C\u002Fp>\n",{"images":3416,"size":84,"_type":57},[3417],{"_id":3418,"url":3419,"alt":18,"caption":18,"credit":18,"width":3420,"height":3421},1067,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-17.jpg",2244,1179,{"questions":3423,"_type":45},[3424],{"question":3425,"answer":3426},"\u003Cp>It Takes Winter to Spring uses dance and narration instead of dialogue. What made you choose movement as the main narrative tool?\u003C\u002Fp>\n","\u003Cp>Simply because talking is cheap, words nowadays mean nothing. I think it’s more personal than it should be. I have trust issues especially when it comes to relationships. I will definitely agree on everything you say but I will always have my guards up. I will wait for your actions to tell me who you really are. I chose movement as the main narrative tool because body language is more honest than empty words.\u003C\u002Fp>\n",{"images":3428,"size":84,"_type":57},[3429],{"_id":3171,"url":3430,"alt":18,"caption":18,"credit":18,"width":3420,"height":3421},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-17.jpg",{"questions":3432,"_type":45},[3433],{"question":3434,"answer":3435},"\u003Cp>Are your films a way of processing your own life, or are they something more abstract?\u003C\u002Fp>\n","\u003Cp>I will be very honest. My films are a way of processing my own life mixed with the wonder of the unknown and the what ifs if life was perfect. To me I want my films to get you to recognize that the psychology behind my journey exists in you too . it’s funny because I am working on a new campaign and I have showed my best friend the first draft and she was like I can tell that this is your work from the first frame and she said I almost can sense the feelings that I will be left with ( not wanting it to end, wanting more and feeling happy with a smile on) it’s just you. You have to understand that is a huge compliment coming from the most brutally honest human being on the planet.\u003C\u002Fp>\n",{"images":3437,"size":84,"_type":57},[3438],{"_id":3439,"url":3440,"alt":18,"caption":18,"credit":18,"width":503,"height":3441},1069,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1000015349.jpg",896,{"questions":3443,"_type":45},[3444],{"question":3445,"answer":3446},"\u003Cp>Are there artists, filmmakers or not, who shaped your visual sensibility?\u003C\u002Fp>\n","\u003Cp>–       Abdelhamid Bouchnak was a huge inspiration. The first time watching one of his work he triggered memories of smell from my childhood, I swear that could smell the scene.\u003C\u002Fp>\n\u003Cp>–       Eli Fahed: when I first moved in to Lebanon, I was invited to one of his sets by his Producer Sohad. All I wanted was to run a set like him. I\u003Cbr \u002F>\nwas star stuck by him and his energy on set.\u003C\u002Fp>\n\u003Cp>–       Miguel Sapochnik : He’s the director of the highly rated episodes of Game Of Thrones until today. You can’t watch “battle of the bastards”\u003Cbr \u002F>\nand “the winds of winter” and not to fall in love.\u003C\u002Fp>\n\u003Cp>–       Christopher Nolan and Denis Villeneuve: I will put these two together because they are the end game for me.\u003Cbr \u002F>\n–       Nadine Labake : I want to have her career. she’s the definition of awesome. if awesome was a person it would have been her.\u003C\u002Fp>\n\u003Cp>Last but not least, architecture. It’s an unbelievable source of inspiration to me. Interior design is my guilty pleasure .\u003C\u002Fp>\n",{"images":3448,"size":84,"_type":57},[3449],{"_id":3450,"url":3451,"alt":18,"caption":18,"credit":18,"width":3452,"height":3453},1070,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1000015341.jpg",2200,1545,{"questions":3455,"_type":45},[3456],{"question":3457,"answer":3458},"\u003Cp>How do you approach collaboration on set, from cinematographers to dancers to editors?\u003C\u002Fp>\n","\u003Cp>Everyone on set is as important as the director if not more. Everyone’s opinion matters and everyone needs to be heard. I try to make everyone on set feels like their presence on set is much appreciated and the more you involve them in decision making and you have ears to them the more they take it as it’s their own project and they give their best and they feel more responsible\u003Cbr \u002F>\ntowards the outcome and they feel more comfortable sharing their ideas with you because they trust you at this point. Earning their trust is my number one priority that’s how I collaborate with other people on set.\u003C\u002Fp>\n",{"variant":1116,"images":3460,"_type":73},[3461,3464],{"_id":867,"url":3462,"alt":18,"caption":18,"credit":18,"width":503,"height":3463},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1000015351.jpg",898,{"_id":3465,"url":3466,"alt":18,"caption":18,"credit":18,"width":2729,"height":3467},1072,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1000015353.jpg",895,{"questions":3469,"_type":45},[3470],{"question":3471,"answer":3472},"\u003Cp>Do you think of the viewer while creating, or do you focus inward first and let others interpret later?\u003C\u002Fp>\n","\u003Cp>I do. My creative process starts with them. It starts with “ what kind of feeling I want to leave with them?” “what kind of emotions I want to target in them” “how can I make my story more about the person watching and less about me” the audience are the beginning and the end of all of my stories.\u003C\u002Fp>\n",{"images":3474,"size":84,"_type":57},[3475],{"_id":3476,"url":3477,"alt":18,"caption":18,"credit":18,"width":3478,"height":3479},1073,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1000014007.jpg",2153,1219,{"questions":3481,"_type":45},[3482],{"question":3483,"answer":3484},"\u003Cp>What kind of stories do you hope to tell in the next few years?\u003C\u002Fp>\n","\u003Cp>I have a dream to direct an episode in Black Mirror or maybe a whole season. I have a dream of directing a film series out of the original film “The Massage” made in 1976. I have a dream of directing a tv series called “Carthage : the empire” beyond Hannibal and wars and all of the stereotyping spread by the westernized culture. The reality of it. How it never had a king how the most advanced western cultures today are using a political system that has been used by the Carthage in 814 B.C. These are my dreams. In reality, in the upcoming few years, I hope I will get the chance to shape my talent and practice more to be able to achieve these dreams one day maybe with couple commercials and video clips.\u003C\u002Fp>\n",{"images":3486,"size":56,"_type":57},[3487],{"_id":3488,"url":3489,"alt":18,"caption":18,"credit":18,"width":3490,"height":1467},1074,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6490B185-39B4-4EB5-80FC-0147E8F7E799.jpg",1080,{"questions":3492,"_type":45},[3493],{"question":3494,"answer":3495},"\u003Cp>Your use of color feels deliberate, bold reds, rich blues, warm shadows. How do you approach color when developing a scene?\u003C\u002Fp>\n","\u003Cp>Colors are visual hooks, they deliver emotions and most of the emotions in my films are bold and deep and true so colors have to present. They are part of the story so they need to be as sharp as the story.\u003C\u002Fp>\n",{"images":3497,"size":84,"_type":57},[3498],{"_id":900,"url":3499,"alt":18,"caption":18,"credit":18,"width":3420,"height":3421},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-13.jpg",{"questions":3501,"_type":45},[3502],{"question":638,"answer":3503},"\u003Cp>I am available on Instagram @iambahaeddine and my film is available on artify.tn all my projects are available on my portfolio that is available on my \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fiambahaeddine\u002F?hl=en\">Instagram\u003C\u002Fa> bio.\u003C\u002Fp>\n",{"_type":6,"_id":3505,"slug":3506,"name":3507,"index":3508,"date":3509,"thumbnails":3510,"description":3521,"footerImage":3522,"categories":3526,"sections":3528},394,"rush-drayton","Rush Drayton",27,"2025-05-06",{"quote":3511,"main":3512,"secondary":3516,"reverse":24},"\u003Cp>“I let the process and form emerge from the properties of the biomaterial, rather than imposing any fixed manufacturing method…”\u003C\u002Fp>\n",{"image":3513,"background":21,"fit":511},{"_id":3514,"url":3515,"alt":18,"caption":18,"credit":18,"width":888,"height":357},395,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Frisograph-zine1a.jpg",{"image":3517,"background":21,"fit":22},{"_id":3518,"url":3519,"alt":18,"caption":18,"credit":18,"width":653,"height":3520},398,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FWelding-chaira.jpg",799,"\u003Cp>Rush Drayton is an Australian sculptor and design engineer completing the dual Master’s programme in Innovation Design Engineering at the Royal College of Art and Imperial College London. Working at the intersection of art and science, his practice explores the shifting boundaries between humans and the natural world, examining ecological systems and animal sensory worlds to reimagine how we design and live within shared environments.\u003C\u002Fp>\n",{"_id":3523,"url":3524,"alt":18,"caption":18,"credit":18,"width":1430,"height":3525},397,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FRush-Draytona.jpg",2112,[3527],{"_id":127,"slug":146,"name":147},[3529,3533,3537,3546,3551,3556,3561,3568,3573,3578,3583,3588,3593,3598,3602,3607,3612,3617,3622,3627],{"questions":3530,"_type":45},[3531],{"question":522,"answer":3532},"\u003Cp>My name is Rush Drayton. I was born in America, raised in Sydney, Australia, and I’m now based in London.\u003C\u002Fp>\n",{"questions":3534,"_type":45},[3535],{"question":3060,"answer":3536},"\u003Cp>My practice sits at the intersection of design engineering and sculpture, with a focus on ecological inquiry — moving beyond biomimicry to investigate new ways of working with nonhuman life in shaping interconnected environments and technologies that respect and regenerate ecosystems.\u003C\u002Fp>\n",{"variant":1179,"images":3538,"_type":73},[3539,3544],{"_id":3540,"url":3541,"alt":18,"caption":18,"credit":18,"width":3542,"height":3543},894,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-16.jpg",2196,1522,{"_id":3467,"url":3545,"alt":18,"caption":18,"credit":18,"width":3542,"height":3543},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-16.jpg",{"questions":3547,"_type":45},[3548],{"question":3549,"answer":3550},"\u003Cp>How did milk, even as a waste material, first appear to you as a viable building block?\u003C\u002Fp>\n","\u003Cp>It started with an interest in exploring biomaterials as a medium for sculpture and fabrication. I tried everything — seaweed, agar, paper composites — but I kept running into issues with smell and mould after just a few days. Milk was actually a last-ditch attempt. I knew about milk glue and bone glue, and while I didn’t have any bones lying around, I did have milk in the fridge.\u003C\u002Fp>\n\u003Cp>Conventional plaster can be recycled and is usually made from naturally sourced minerals like gypsum, but it still relies on industrial-scale mining. I came across a Bloomberg article about the massive overproduction of dairy in the US, with farmers pouring milk down the drain. And when have you ever not seen milk in a grocery store? A lot of it just never gets bought.\u003C\u002Fp>\n\u003Cp>Some surplus gets turned into cheese, but for a local maker, using waste milk as a plaster is a really viable, low-cost option. Having worked with conventional plaster a lot in my practice, I found the casein composite holds its own — you can sand it, sculpt it, cast it, pigment it, apply it with a brush or by hand. Adding natural fibres like hemp and wool massively improves its tensile strength too. Plus, it’s relatively easy to make.\u003C\u002Fp>\n",{"images":3552,"size":84,"_type":57},[3553],{"_id":3441,"url":3554,"alt":18,"caption":18,"credit":18,"width":3555,"height":3543},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-16.jpg",1273,{"questions":3557,"_type":45},[3558],{"question":3559,"answer":3560},"\u003Cp>What were the biggest material failures along the way?\u003C\u002Fp>\n","\u003Cp>It definitely took a while to figure out the ratios. The recipe is made over a stove, and when you mix bi-carb soda into curdled milk, it basically turns it back into a liquid. Too much bi-carb and you end up with a frothy mess; too little and it stays clumpy. Once I nailed that balance, I could move much faster and get consistent results.\u003C\u002Fp>\n",{"variant":1116,"images":3562,"_type":73},[3563,3566],{"_id":3564,"url":3565,"alt":18,"caption":18,"credit":18,"width":3555,"height":3543},897,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-13.jpg",{"_id":3463,"url":3567,"alt":18,"caption":18,"credit":18,"width":3555,"height":3543},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-16.jpg",{"questions":3569,"_type":45},[3570],{"question":3571,"answer":3572},"\u003Cp>How long did the entire chair take to make, from first prototype to final form?\u003C\u002Fp>\n","\u003Cp>Testing and refining the material took about a month. Then the physical construction of the chair took another two months. Welding the internal steel structure was actually the most time-consuming part — each spine was hand-bent, which was a real process to get the form looking symmetrical. The skeletal frame drew inspiration from biological morphologies, particularly the ribcage and spinal column. I leaned on these forms to demonstrate how the material interacts with more complex geometries.\u003C\u002Fp>\n",{"images":3574,"size":84,"_type":57},[3575],{"_id":3145,"url":3576,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-16.jpg",1649,{"images":3579,"size":84,"_type":57},[3580],{"_id":3581,"url":3582,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},901,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-11.jpg",{"questions":3584,"_type":45},[3585],{"question":3586,"answer":3587},"\u003Cp>Do you consider yourself more of a maker, a researcher, or something in between?\u003C\u002Fp>\n","\u003Cp>I’d say I lean more towards an experimentation-led maker. Milk Chair really followed a material-driven approach — I let the process and form emerge from the properties of the biomaterial, rather than imposing any fixed manufacturing method. Having worked under shipwrights for a few years, a lot of the techniques I used came directly from wooden boatbuilding and fibreglassing — so that hands-on, iterative process has definitely shaped the way I make.\u003C\u002Fp>\n",{"images":3589,"size":84,"_type":57},[3590],{"_id":3591,"url":3592,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},902,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10-5.jpg",{"questions":3594,"_type":45},[3595],{"question":3596,"answer":3597},"\u003Cp>You’ve spoken about challenging the binary of permanence and decay, how do you\u003Cbr \u002F>\nsee that tension reflected in the objects we live with every day?\u003C\u002Fp>\n","\u003Cp>Consumer culture has taught us to value longevity and clean finishes, often placing synthetic materials above biomaterials, which are seen as fragile or impractical. But biomaterials are now competing with synthetic alternatives in durability, beauty, and strength. Designers have an opportunity to rethink materials — not as static objects, but as dynamic parts of ecosystems that change, age, and return harmlessly to the earth. It’s about breaking down the hierarchy between synthetic and organic, and recognising impermanence not as a weakness, but as a vital part of designing for a resilient future.\u003C\u002Fp>\n",{"images":3599,"size":56,"_type":57},[3600],{"_id":1753,"url":3601,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-6.jpg",{"questions":3603,"_type":45},[3604],{"question":3605,"answer":3606},"\u003Cp>Is there a material you’re currently dreaming about, but haven’t cracked yet?\u003C\u002Fp>\n","\u003Cp>I’ve actually been thinking about keratin — the same protein that makes up our hair, nails, animal horns and hooves. We produce a lot of it, but the process of extracting it, casting it, or turning it into a viable biomaterial is not so straightforward. One to think about!\u003C\u002Fp>\n",{"questions":3608,"_type":45},[3609],{"question":3610,"answer":3611},"\u003Cp>What would you like the Milk Chair to spark?\u003C\u002Fp>\n","\u003Cp>If anything, I hope the chair — and the process behind it — motivates other designers to rethink our relationship with materials and the natural world. I’m not suggesting casein plaster is a perfect industrial solution, and the dairy industry has its own serious issues. But we create waste at a massive scale across so many industries. Finding creative ways to work with waste materials, while also scaling down overproduction and shifting toward sustainable sources, feels like an important step in the right direction.\u003C\u002Fp>\n",{"images":3613,"size":56,"_type":57},[3614],{"_id":3615,"url":3616,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},904,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-7.jpg",{"questions":3618,"_type":45},[3619],{"question":3620,"answer":3621},"\u003Cp>Do you feel a responsibility to educate through your work? Or do you see it more as an invitation for curiosity?\u003C\u002Fp>\n","\u003Cp>I think curiosity leads to education. Through all my work I’m trying to encourage viewers to learn more about the natural world, but I don’t want to force it. I think if you can create works that make someone stop, even for a minute, and encourage them to read about the piece, you’re already on your way to education.\u003C\u002Fp>\n",{"images":3623,"size":84,"_type":57},[3624],{"_id":3625,"url":3626,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},905,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F14-1.jpg",{"questions":3628,"_type":45},[3629],{"question":638,"answer":3630},"\u003Cp>Instagram: @rushdrayton\u003Cbr \u002F>\nWesbite: rushdrayton.com\u003Cbr \u002F>\nI have a Milk Chair zine available on my site, documenting the whole process if people are interested in learning more.\u003C\u002Fp>\n",{"_type":6,"_id":3632,"slug":3633,"name":3634,"index":3635,"date":3636,"thumbnails":3637,"description":3646,"footerImage":3647,"categories":3650,"sections":3652},406,"28-ripple-life","Ripple Life",28,"2025-05-09",{"quote":3638,"main":3639,"secondary":3645,"reverse":24},"\u003Cp>“When I design, I always aim to create objects that people won’t get tired of — things they’ll want to keep by their side for years…”\u003C\u002Fp>\n",{"image":3640,"background":21,"fit":56},{"_id":3641,"url":3642,"alt":18,"caption":18,"credit":18,"width":3643,"height":3644},407,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002Fstud-bezel-a.jpg",1379,999,{"image":24,"background":21,"fit":22},"\u003Cp>Heejin Kim is a Seoul-based metal artist who runs a jewelry brand and studio under the name ‘Ripple Life.’\u003Cbr \u002F>\nHer work begins with small, personal experiences and expands through collaborations with diverse connections. She translates the flows of everyday emotions and relationships into metalwork, aiming to share a positive energy through her practice.\u003C\u002Fp>\n",{"_id":3648,"url":3649,"alt":18,"caption":18,"credit":18,"width":3643,"height":3644},408,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002Fstud-bezel-b.jpg",[3651],{"_id":33,"slug":34,"name":35},[3653,3657,3661,3667,3672,3681,3686,3691,3696,3701,3706,3711,3719,3724,3728,3733,3741,3746,3750,3755,3763],{"questions":3654,"_type":45},[3655],{"question":1766,"answer":3656},"\u003Cp>Hi, My name is Heejin Kim. I am based in Seoul, South Korea.\u003C\u002Fp>\n",{"questions":3658,"_type":45},[3659],{"question":1904,"answer":3660},"\u003Cp>I design and craft silver jewelry and handcrafted metal objects under the name “Ripple Life”. Inspired by nature and the quiet beauty of everyday life, my works reflect a gentle, organic aesthetic. With nearly a decade of experience, I not only create but also share this art by teaching metalwork through hands-on classes in my studio.\u003C\u002Fp>\n",{"images":3662,"size":56,"_type":57},[3663],{"_id":3664,"url":3665,"alt":18,"caption":18,"credit":18,"width":1036,"height":3666},836,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1.jpg",1401,{"questions":3668,"_type":45},[3669],{"question":3670,"answer":3671},"\u003Cp>Your brand name, “Ripple Life,” is so calming. What kind of life do you imagine when you think of a ripple?\u003C\u002Fp>\n","\u003Cp>Thank you, that means a lot.\u003C\u002Fp>\n\u003Cp>“Ripple Life” was born from a desire to live a life that brings gentle resonance to the heart, like the calm waves of the sea.\u003C\u002Fp>\n\u003Cp>I want to recognize and cherish the small joys found in everyday moments, and fill my life with them.\u003C\u002Fp>\n\u003Cp>Reading under the sunlight, listening to music at my favorite café with coffee or wine in hand, feeling the changing seasons while taking a walk, or being immersed in my creative work — these are what I call Ripple Moments—those quiet, personal experiences that ripple through your life with meaning.\u003C\u002Fp>\n",{"variant":1179,"images":3673,"_type":73},[3674,3678],{"_id":3675,"url":3676,"alt":18,"caption":18,"credit":18,"width":1036,"height":3677},837,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2.jpg",518,{"_id":3679,"url":3680,"alt":18,"caption":18,"credit":18,"width":1036,"height":3677},838,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3.jpg",{"questions":3682,"_type":45},[3683],{"question":3684,"answer":3685},"\u003Cp>How do your surroundings in Seoul influence your practice?\u003C\u002Fp>\n","\u003Cp>My main working areas are Gongneung-dong, where my studio is located, and Jongno, which is a central hub for the jewelry industry in Seoul.\u003C\u002Fp>\n\u003Cp>Gongneung-dong is where I’ve lived since I was young, so it feels very familiar and comforting to me.\u003C\u002Fp>\n\u003Cp>That sense of stability has a big impact on my creative process — it helps me stay grounded and focused.\u003C\u002Fp>\n\u003Cp>I usually go to Jongno to handle some tasks and spend time in my favorite spots. One of them is Changgyeonggung.\u003C\u002Fp>\n\u003Cp>Walking through its grounds brings a quiet sense of calm, and I feel surrounded by peaceful, refreshing energy.\u003C\u002Fp>\n\u003Cp>That atmosphere grounds me and inspires my work. I hope that same feeling is reflected in what I create.\u003C\u002Fp>\n\u003Cp>Another place I love is a café in Jongno called “Passing Through”.\u003C\u002Fp>\n\u003Cp>At first, I visited just to rest, but I was drawn to its cozy and distinctive atmosphere, filled with handmade crafts.\u003C\u002Fp>\n\u003Cp>Over time, I became close to the owner, and now we’re friends who even travel together.\u003C\u002Fp>\n\u003Cp>She paints as a hobby, and I create metal frames — we’ve started collaborating, and we hope to hold an exhibition one day.\u003C\u002Fp>\n\u003Cp>Through her, I came to connect with a café called “Susu Coffee Brewing”, where I held my very first pop-up store last year.\u003C\u002Fp>\n\u003Cp>As I followed where my heart led me, it feels like all these experiences unfolded naturally, one after another..Gongneung and Jongno —\u003Cbr \u002F>\nI find comfort in repeating my daily routines in these familiar neighborhoods and enjoy discovering small, unexpected moments within them.\u003C\u002Fp>\n",{"images":3687,"size":84,"_type":57},[3688],{"_id":3689,"url":3690,"alt":18,"caption":18,"credit":18,"width":1036,"height":3677},839,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4.jpg",{"questions":3692,"_type":45},[3693],{"question":3694,"answer":3695},"\u003Cp>Do you find that you learn new things about your own process through your students?\u003C\u002Fp>\n","\u003Cp>I always try to encourage my students to bring their own individuality into their work.\u003C\u002Fp>\n\u003Cp>As a result, they sometimes come up with forms or expressions I haven’t tried myself.\u003C\u002Fp>\n\u003Cp>In order to help them realize their ideas, I reflect on my own process and explore new approaches together with them.\u003C\u002Fp>\n\u003Cp>Through this, I often discover better methods and learn more about my own practice.\u003C\u002Fp>\n",{"questions":3697,"_type":45},[3698],{"question":3699,"answer":3700},"\u003Cp>Do you listen to music while you work?\u003C\u002Fp>\n","\u003Cp>Yes, I really love listening to music while I work.\u003C\u002Fp>\n\u003Cp>Depending on my mood, I enjoy a wide range of genres — from piano pieces and band music to Kendrick Lamar. You could say I have very eclectic taste. Among them, my all-time favorite musician is Ryuichi Sakamoto. A few years ago, I read his book and found myself deeply drawn into his world.I was fascinated to learn that he wasn’t just a pianist, but also explored electronic music, rapped, and performed as part of the band YMO.\u003Cbr \u002F>\nHis fearless experimentation and refusal to be boxed into a single genre were so refreshing and inspiring to me. What touched me the most was his perspective of recognizing all sound as music.\u003Cbr \u002F>\nHe didn’t tune his piano on purpose, and embraced accidental sounds from nature and everyday life as part of his compositions.\u003C\u002Fp>\n\u003Cp>That philosophy has had a profound influence on the way I approach my own work. When I work with metal, I try to focus less on perfection, and more on the natural resonance of the material, or the spontaneity of a moment.\u003C\u002Fp>\n\u003Cp>His music isn’t just background for me — it’s a deep well of artistic inspiration that continues to shape how I think and create.\u003C\u002Fp>\n",{"images":3702,"size":84,"_type":57},[3703],{"_id":3704,"url":3705,"alt":18,"caption":18,"credit":18,"width":1036,"height":3677},840,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5.jpg",{"questions":3707,"_type":45},[3708],{"question":3709,"answer":3710},"\u003Cp>Is there a material, technique, or tool you’re curious to try but haven’t explored yet?\u003C\u002Fp>\n","\u003Cp>At the moment, there’s nothing specific I’m actively pursuing in terms of new techniques or tools. Instead, I’ve spent the past two years learning about sculpture setting, and now I want to integrate what I’ve learned into my work in my own style. Rather than seeking out new challenges, I’m currently focused on refining and applying the skills I’ve developed over time. Of course, I remain open to new inspiration that can arise from conversations, experiences, or even mistakes during the creative process.\u003C\u002Fp>\n",{"variant":1116,"images":3712,"_type":73},[3713,3716],{"_id":3714,"url":3715,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},841,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6.jpg",{"_id":3717,"url":3718,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},842,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7.jpg",{"questions":3720,"_type":45},[3721],{"question":3722,"answer":3723},"\u003Cp>What kind of objects do you personally hold on to?\u003C\u002Fp>\n","\u003Cp>I don’t have just one or two specific objects that I treasure.\u003C\u002Fp>\n\u003Cp>Over time, I’ve started to surround myself only with things I truly want to keep for a long time —and because of that, I find myself feeling a deep affection for almost everything I own.\u003C\u002Fp>\n\u003Cp>This way of thinking naturally influences my work as well. When I design, I always aim to create objects that people won’t get tired of — things they’ll want to keep by their side for years.\u003C\u002Fp>\n\u003Cp>Recently, I had to throw away a pair of sneakers I really loved because they were too worn out,\u003Cbr \u002F>\nand I was more upset about it than I expected.\u003C\u002Fp>\n\u003Cp>But in that moment, I felt genuinely grateful that the metal objects I make can stay with someone for a long, long time.\u003C\u002Fp>\n",{"images":3725,"size":84,"_type":57},[3726],{"_id":1079,"url":3727,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F13.jpg",{"questions":3729,"_type":45},[3730],{"question":3731,"answer":3732},"\u003Cp>Were you ever looking for a box that didn’t exist, so you made it yourself?\u003C\u002Fp>\n","\u003Cp>When I come across an interesting shape, I often feel the urge to recreate it in metal.\u003C\u002Fp>\n\u003Cp>I once found a tiny matchbox at a vintage shop — it was so charming that I kept thinking I should try making something like it someday.\u003C\u002Fp>\n\u003Cp>That idea finally came to life when I collaborated with a friend who runs a graphic design studio called “Aggressive Graphic Association”.\u003C\u002Fp>\n\u003Cp>She designed the initials to be engraved on the box, and I brought it to life in metal.\u003C\u002Fp>\n\u003Cp>The box was made from aluminum and assembled using brass rivet techniques.\u003C\u002Fp>\n\u003Cp>Each initial was carefully hand-stamped with a hammer — it may look simple, but it took several rounds of practice to get it just right.\u003C\u002Fp>\n\u003Cp>It started as a fun personal project between friends, but the fact that so many people showed interest made it all the more meaningful for both of us.\u003C\u002Fp>\n",{"variant":1116,"images":3734,"_type":73},[3735,3738],{"_id":3736,"url":3737,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},843,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8.jpg",{"_id":3739,"url":3740,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},844,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9.jpg",{"questions":3742,"_type":45},[3743],{"question":3744,"answer":3745},"\u003Cp>Your work often carries an element of engineering. small bolts, screws, and joints that feel like architectural details. Do you see your pieces as miniature constructions?\u003C\u002Fp>\n","\u003Cp>I don’t just use those elements for their aesthetic —I genuinely enjoy working with small components in a structural way.\u003C\u002Fp>\n\u003Cp>Adding multiple steps and layers makes the whole process more engaging for me and I think it brings out the craft-based quality that reflects my identity as a maker.\u003C\u002Fp>\n\u003Cp>I also love the idea that, over time, the joints and layers will age naturally and develop character. That slow transformation is something I look forward to — it adds depth and history to each piece.\u003C\u002Fp>\n",{"images":3747,"size":84,"_type":57},[3748],{"_id":967,"url":3749,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10.jpg",{"questions":3751,"_type":45},[3752],{"question":3753,"answer":3754},"\u003Cp>Do you find that teaching slows you down? Or reconnects you to the joy of making?\u003C\u002Fp>\n","\u003Cp>When I’m working, I usually spend most of my time alone.\u003C\u002Fp>\n\u003Cp>Teaching allows me to meet people from different backgrounds and share ideas and tastes, and I find that these exchanges have a positive impact on me as well.\u003C\u002Fp>\n\u003Cp>I’ve made some great connections through my classes — some have even become close friends.\u003Cbr \u002F>\nSometimes, those connections naturally lead to collaborations.\u003C\u002Fp>\n\u003Cp>For example, I worked with a friend who runs a dessert brand called nowk.mu to create dessert forks, and the friend I made the metal box with originally came to me as a student.\u003C\u002Fp>\n\u003Cp>In that way, teaching doesn’t slow me down — it brings new energy into my practice and helps me reconnect with the joy of making through others.\u003C\u002Fp>\n",{"variant":1179,"images":3756,"_type":73},[3757,3760],{"_id":3758,"url":3759,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},846,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11.jpg",{"_id":3761,"url":3762,"alt":18,"caption":18,"credit":18,"width":1036,"height":2917},847,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F12.jpg",{"questions":3764,"_type":45},[3765],{"question":638,"answer":3766},"\u003Cp>You can find me at my studio in Gongneung-dong, Nowon-gu, Seoul, or visit my website at www.ripplelife.kr and follow me on Instagram @ripplelife_place. Some of my framed works and pieces are also on display at the café Passing Through (@passingthrough_cafe).\u003C\u002Fp>\n",{"_type":6,"_id":3768,"slug":3769,"name":3770,"index":3771,"date":3772,"thumbnails":3773,"description":3779,"footerImage":3780,"categories":3783,"sections":3785},399,"parafernalia","PARAFERNALIA",29,"2025-05-10",{"quote":3774,"main":3775,"secondary":3778,"reverse":24},"\u003Cp>“Material culture is something to be experienced…”\u003C\u002Fp>\n",{"image":3776,"background":137,"fit":139},{"_id":184,"url":3777,"alt":18,"caption":18,"credit":18,"width":1430,"height":1430},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FIMG_9995-Enhanced-NR-Edita.jpg",{"image":24,"background":21,"fit":22},"\u003Cp>Parafernalia is a design studio founded by Sebastián Zorrilla and Genki Matsumura, based between Monterrey and Mexico City. The studio explores cultural artifacts and contexts through material-driven investigations that offer critical perspectives on design and its narratives.\u003C\u002Fp>\n",{"_id":3781,"url":3782,"alt":18,"caption":18,"credit":18,"width":653,"height":503},401,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FPf_Cosecha_Proceso_04-1a.jpg",[3784],{"_id":33,"slug":34,"name":35},[3786,3790,3794,3803,3808,3813,3818,3823,3828,3837,3842,3847,3855,3860,3866,3871,3877,3882,3887,3892],{"questions":3787,"_type":45},[3788],{"question":159,"answer":3789},"\u003Cp>Sebastian Zorrilla from Monterrey and Genki Matsumura, born and raised in Venezuela and then Mexico\u003C\u002Fp>\n",{"questions":3791,"_type":45},[3792],{"question":1423,"answer":3793},"\u003Cp>A bit of a tough one this question, since our focus changes with every project. We’re intent on investigation, on creating our own frame of reference within which to articulate different material narratives. Our projects impact each other, going both forward and backward, they’re smear frames, double exposures, both self referential and retroactive in nature, every project leaves behind small remainders that impact the next. So I guess we just make whatever we’re interested in, and build upon that for each new material iteration of our investigation. Brian Eno has eloquently put it as play as a way of working, doing something and having our input as we go feedback into what we’re doing in real time.\u003C\u002Fp>\n",{"variant":1179,"images":3795,"_type":73},[3796,3800],{"_id":3797,"url":3798,"alt":18,"caption":18,"credit":18,"width":3799,"height":1790},932,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-3-scaled.jpg",1847,{"_id":3801,"url":3802,"alt":18,"caption":18,"credit":18,"width":3799,"height":1790},933,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-2-scaled.jpg",{"questions":3804,"_type":45},[3805],{"question":3806,"answer":3807},"\u003Cp>What does Parafernalia mean and why did you choose it?\u003C\u002Fp>\n","\u003Cp>Parafernalia is Spanish for Paraphernalia, which I guess is really obvious. We like the term because it represents a certain ambiguity, it’s an umbrella term that describes no one particular object but the collection of objects that semantically surround certain rituals or activities. We like that, designing and creating with certain activities or images in mind, real or imaginary.\u003C\u002Fp>\n",{"images":3809,"size":84,"_type":57},[3810],{"_id":3811,"url":3812,"alt":18,"caption":18,"credit":18,"width":3799,"height":1790},934,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-2-scaled.jpg",{"questions":3814,"_type":45},[3815],{"question":3816,"answer":3817},"\u003Cp>Your material palette moves from raw metal to stones, velvet, and tile. What guides your material choices?\u003C\u002Fp>\n","\u003Cp>Nothing is really set in stone. We don’t really have a defined methodology or set of guidelines for picking materials, we mostly just work with things we find interesting, then build methodology from there. Everything we do is retroactive. One of the principles of our research processes is to avoid discrimination of sources , we have consulted TikTok, Instagram and Reddit when we’re in the process of investigation for a project, obviously fact checking and verifying information as we go. We could say that its mostly following our own intuition and interest, and rationalizing stuff as we go to try and reason how we got there and why it makes sense in our opinion.\u003C\u002Fp>\n",{"images":3819,"size":84,"_type":57},[3820],{"_id":3821,"url":3822,"alt":18,"caption":18,"credit":18,"width":3799,"height":1790},936,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-1-scaled.jpg",{"questions":3824,"_type":45},[3825],{"question":3826,"answer":3827},"\u003Cp>Is there a material you haven’t worked with yet but are curious to explore?\u003C\u002Fp>\n","\u003Cp>Well we’re interested in almost all the materials out there to some degree, but there’s one thing that we’ve been meaning to explore more, its not necessarily a material per se: Programming, digital building blocks. We normally try to detach ourselves from our whims and ego when defining and creating form, resorting instead to other parameters within the production and material processes themselves to derive form. We found that imbuing your own personal taste and desire into objects normally results in complicated and capricious design. We’re now interested in generative processes in which we don’t really know what the results might be. We have previously delved in these waters for another project that hasn’t yet seen the light of day. We developed a set of tables made of stone, in which we wanted to explore creating our own veins by combining different types of stones in the same piece and machining the form from there. When we asked ourselves how to arrive at the forms we decided to work with Mariano Shaar, an artist and programmer friend of ours, who we tasked with creating a small computer program that outputs randomized sets of circles, which we then utilized to arrive at wholly unexpected forms by playing around with accommodation of the bidimensional circles in a three-dimensional disposition.\u003C\u002Fp>\n",{"variant":1116,"images":3829,"_type":73},[3830,3834],{"_id":3831,"url":3832,"alt":18,"caption":18,"credit":18,"width":1790,"height":3833},937,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-1-scaled.jpg",1269,{"_id":3835,"url":3836,"alt":18,"caption":18,"credit":18,"width":1790,"height":3833},939,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-2-scaled.jpg",{"questions":3838,"_type":45},[3839],{"question":3840,"answer":3841},"\u003Cp>Do any of your pieces carry meanings or stories that aren’t obvious unless someone knows you well?\u003C\u002Fp>\n","\u003Cp>We try to write about the stories and meaning behind our projects along with it when published, in an effort to contextualize the work.\u003C\u002Fp>\n",{"questions":3843,"_type":45},[3844],{"question":3845,"answer":3846},"\u003Cp>Can you tell us about a piece that came together unexpectedly, or changed direction mid-process?\u003C\u002Fp>\n","\u003Cp>This has happened multiple times in projects, thats just how our creative process works sometimes. For the hand blown glass pieces we did for Salon Cosa 2022, the whole point was to experiment with ways of imbuing shapes onto malleable hot glass. We wanted to use a variety of materials for this, many of which didn’t work out because we were missing information about the process itself, which we acquired upon visiting the factory. We settled on earth-casting, ideally glass was to be blown into a hole in the ground, which we then found impossible because of the cooling times of the glass and the distance between the factory and the empty plot of land next to it. In the end we decided to blow the glass into a hand made hole in wet soil inside of a plastic container for quickness, and decided on the typology of pieces to be created based on this process. A table and 3 fish bowls. For this project we were later commissioned a piece of audio to accompany it for Taiwan design week, which we worked with Rene Andrade to develop. The result was a generative soundscape that aims to establish the foundation for an innovative exploratory landscape in the effort to replicate the process of self conscious, organic form-giving through the intervention of processes.\u003C\u002Fp>\n\u003Cp>We also did a salt and pepper shaker project we wanted to use cork for, and then realized blocks of cork are nearly impossible to find in the country so we decided to utilize yoga cork blocks in order to machine the containers from it.\u003C\u002Fp>\n",{"variant":176,"images":3848,"_type":73},[3849,3853],{"_id":3850,"url":3851,"alt":18,"caption":18,"credit":18,"width":3852,"height":1790},940,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-2-scaled.jpg",1721,{"_id":1036,"url":3854,"alt":18,"caption":18,"credit":18,"width":3852,"height":1790},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-2-scaled.jpg",{"questions":3856,"_type":45},[3857],{"question":3858,"answer":3859},"\u003Cp>How does your environment, your studio, city, or surroundings shape the way you design?\u003C\u002Fp>\n","\u003Cp>It shapes our practice in an absolute way. Our immediate context has a massive impact on our practice and way of seeing things, after all, materiality is something entirely dependent on sensorial input, to actually know something is to know how it feels, smells and sounds, none of these things can happen through a screen. Material culture is something to be experienced. This is also in turn a great way to view design and creation in a much more conscious way, the key is to look around and emulate, to see what has been done a certain way for years, there must be a reason behind it.\u003C\u002Fp>\n",{"images":3861,"size":84,"_type":57},[3862],{"_id":3863,"url":3864,"alt":18,"caption":18,"credit":18,"width":1790,"height":3865},942,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-1-scaled.jpg",1872,{"questions":3867,"_type":45},[3868],{"question":3869,"answer":3870},"\u003Cp>If you had an unlimited budget for a project, what would you make?\u003C\u002Fp>\n","\u003Cp>Even though we’re not architects, we would probably make a house. We’ve lately been feeling a certain inclination towards a larger scale, interior or architectural design, but not for its own sake. We think objects are key to realize a vision for a space. Designing objects for selling is a little strange, like designing in a vacuum, you can try as much as you can to predict what kind of person will be using these objects, what kind of space they will inhabit but its never like that, you can never just guess perfectly. We’ve been so drawn to larger scales because of the site-specific nature of the design that takes place within. Theres something so special about very very specific design, one that molds itself to the way someone lives their life andinhabits their home. A corner trashcan, little stepping stool near a window for reading, a shelving unit for a small forgotten corner of a house.\u003C\u002Fp>\n",{"images":3872,"size":84,"_type":57},[3873],{"_id":3874,"url":3875,"alt":18,"caption":18,"credit":18,"width":2749,"height":3876},943,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-1.jpg",2023,{"questions":3878,"_type":45},[3879],{"question":3880,"answer":3881},"\u003Cp>What does a near perfect first few hours of your day look, sound, smell and taste like?\u003C\u002Fp>\n","\u003Cp>Coffee, and some nice sunshine, while on a call with each other. Ever since Genki moved to CDMX from Monterrey, the work dynamic shifted a lot, which resulted in an almost constant communication between the two, to keep each other updated and keep the ball rolling. So our morning routines have now included a religious minimum of one call a day, most of the time in the morning, to catch up on each others lives and comment on active projects and work to be done. That is a near perfect morning for a weekday, otherwise a nice chilly morning on a mountain while camping, or a relaxing reading session on a hammock, preferably on the beach would be it.\u003C\u002Fp>\n",{"images":3883,"size":56,"_type":57},[3884],{"_id":3885,"url":3886,"alt":18,"caption":18,"credit":18,"width":2749,"height":3876},944,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F99-1.jpg",{"questions":3888,"_type":45},[3889],{"question":3890,"answer":3891},"\u003Cp>What was the last thing you googled and why?\u003C\u002Fp>\n","\u003Cp>Craig Green, a big inspiration when it some to textile use and shape building through flat planes. We’ve also been keen on utilizing textiles in varied ways within our practice.\u003C\u002Fp>\n",{"questions":3893,"_type":45},[3894],{"question":638,"answer":3895},"\u003Cp>We unfortunately don’t have a physical space of our own as of yet, also due to our physical circumstances being far apart from each other. We do however have some physical spaces exhibiting some of our pieces in showrooms. First of all AGO Projects, our main gallery and partner since the inception of our practice, they have an incredible showroom in their Mexico City offices which displays multiple pieces, including the Horchata outdoor furniture collection. We also have a piece on display within the showroom of another Mexico City based gallery: Originario.\u003C\u002Fp>\n\u003Cp>As for digital platforms, we normally operate actively through instagram (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fparafernali.a\u002F?hl=en\">@parafernali.a\u003C\u002Fa>) and through our own website (\u003Ca href=\"https:\u002F\u002Fparafernaliaa.com\">parafernaliaa.com\u003C\u002Fa>)\u003C\u002Fp>\n",{"_type":6,"_id":3897,"slug":3898,"name":3899,"index":3900,"date":3901,"thumbnails":3902,"description":3914,"footerImage":3915,"categories":3919,"sections":3921},402,"pulp-sculptuur","Pulp Sculptuur",30,"2025-05-13",{"quote":3903,"main":3904,"secondary":3910,"reverse":1309},"\u003Cp>“I like my pieces to be bold and original to encourage my audience to take risks and see their homes as somewhere to have fun and feel inspired…”\u003C\u002Fp>\n",{"image":3905,"background":21,"fit":139},{"_id":3906,"url":3907,"alt":18,"caption":18,"credit":18,"width":3908,"height":3909},2803,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FInterview-30-7.jpg",1448,2426,{"image":3911,"background":137,"fit":139},{"_id":3912,"url":3913,"alt":18,"caption":18,"credit":18,"width":1222,"height":1790},405,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FStripe-Magazine-Rack-scaled.jpeg","\u003Cp>Annie Strachan (she\u002Fher) is a London-based artist raised between South Africa, the United States, and Essex, with Dutch and Scottish roots. Working from her garden studio, she creates original hand-built sculptures that sit between art and craft. Her practice explores sustainable making, transforming undervalued and unexpected materials into functional objects. Trained in ceramics and sculpture at Chelsea College of Art & Design, she draws on techniques from slab building and woodwork. Her work is influenced by post-war Hollywood set design and architectural movements like Modernism and Postmodernism, reflected in her playful abstract forms.\u003C\u002Fp>\n",{"_id":3916,"url":3917,"alt":18,"caption":18,"credit":18,"width":3918,"height":1790},404,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FFirst-Collection-Group-Shot-in-Studio-scaled.jpg",1697,[3920],{"_id":33,"slug":34,"name":35},[3922,3926,3930,3935,3944,3949,3954,3959,3964,3969,3977,3982,3986,3991,3996,4001,4006,4011,4019,4024,4029,4034,4039],{"questions":3923,"_type":45},[3924],{"question":1766,"answer":3925},"\u003Cp>My name is Annie Strachan and I’ve been based in London for the past 17 years. Prior to that I lived in the USA for a short time after moving there from South Africa, where I was born to Dutch and Scottish parents.\u003C\u002Fp>\n",{"questions":3927,"_type":45},[3928],{"question":2552,"answer":3929},"\u003Cp>I would describe my work as sitting at the confluence of art and design. My practice is very hands-on and experimental but mostly centred around the use of recycled materials and in particular papier-mâché to create functional pieces for the home.\u003C\u002Fp>\n",{"questions":3931,"_type":45},[3932],{"question":3933,"answer":3934},"\u003Cp>What drew you to craft-based approaches, and how has your training in ceramics and sculpture influenced your use of recycled materials?\u003C\u002Fp>\n","\u003Cp>I’ve always felt that there’s a sense of perceived failure which holds people back from giving things a go, particularly when it comes to experimenting with traditional or heritage skills. Moving around a lot as a child and being exposed to different cultures equipped me with a proclivity for just giving things a go, even if other people tell me it won’t work! This is something I’ve made use of when applying the training I received in ceramics and sculpture to non-traditional materials. My focus on using recycled paper, wood and textiles has also been strongly influenced by growing up in South Africa as a child and seeing incredible craftspeople and artisans repurpose materials in their work.\u003C\u002Fp>\n",{"variant":1179,"images":3936,"_type":73},[3937,3941],{"_id":3938,"url":3939,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},946,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-5.jpg",1372,{"_id":3942,"url":3943,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},947,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-3.jpg",{"questions":3945,"_type":45},[3946],{"question":3947,"answer":3948},"\u003Cp>You mention the influence of post-war Hollywood set design, how does that world of illusion, texture, and drama show up in your own creations? Are there any other dominant inspirations in your work?\u003C\u002Fp>\n","\u003Cp>I used to be heavily into vintage fashion and very particular about how I dressed and accessorised. I suppose this detailed approach to creating a fantasy world is something that has followed through in my work. When I discovered post-war Hollywood rom-coms, I became obsessed with how saturated in pretence they were. Hollywood studios were presenting a vision of impossible luxury, using paint and cheap materials to emulate marble and gold. Another big influence has been the Memphis Group who were inspired along similar lines. Ettore Sottsass who headed up the group, made use of Formica which at that time was viewed as tacky and cheap and combined this with custom patterns and elegant design to create something fashionable. Both themes are prevalent in my practice and are shown through elevating readily available materials through creating desirable design objects using them.\u003C\u002Fp>\n",{"images":3950,"size":84,"_type":57},[3951],{"_id":3952,"url":3953,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},948,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-3.jpg",{"questions":3955,"_type":45},[3956],{"question":3957,"answer":3958},"\u003Cp>Are there any artists, designers, or even films you keep returning to for inspiration?\u003C\u002Fp>\n","\u003Cp>One of my earliest influences was the home of my Dutch grandmother (or Oma) which was typical of mid-century housing of the time but full of incredible treasures. She was really into interior design and collected pieces by iconic names like Verner Panton and Pierre Paulin which she mixed with antiques saved from her family home. I’ve always found that interiors are one of the greatest sources of inspiration for me and that is something that is particularly strong in the movies of Douglas Sirk and Doris Day.\u003C\u002Fp>\n",{"images":3960,"size":84,"_type":57},[3961],{"_id":3962,"url":3963,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},949,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-2.jpg",{"questions":3965,"_type":45},[3966],{"question":3967,"answer":3968},"\u003Cp>What’s it like working out of your garden studio? How does the space around you influence your pieces?\u003C\u002Fp>\n","\u003Cp>It is a huge privilege to be able to work from home as an artist, particularly living in a city. I’ve had some wonderful experiences sharing studios with fellow artists across London but being able to have my own space means I can now access it around the clock. Without the pressure of time restraint, I’ve found there’s greater opportunity for experimentation and I’ve really embraced this through incorporating more sewing and lampshade making in my work. I’ve got some new pieces about to launch shortly which are a great example of this.\u003C\u002Fp>\n",{"variant":1116,"images":3970,"_type":73},[3971,3974],{"_id":3972,"url":3973,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},950,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-3.jpg",{"_id":3975,"url":3976,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},951,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-3.jpg",{"questions":3978,"_type":45},[3979],{"question":3980,"answer":3981},"\u003Cp>What do you enjoy most about working with paper mâché? Are there qualities in the material that keep surprising you?\u003C\u002Fp>\n","\u003Cp>What first drew me to working with paper mâché was the potential I saw in it to produce ceramic-like work. Although there are some limitations as far as increased drying times and structural integrity, it does allow you to create pieces at scale without having to worry about whether you can fit them into a kiln for firing! Having now worked with this material for so long, I’m more familiar with mitigating failures and this has allowed me to really explore experimenting with new shapes and designs with very little risk.\u003C\u002Fp>\n",{"images":3983,"size":84,"_type":57},[3984],{"_id":1063,"url":3985,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-3.jpg",{"questions":3987,"_type":45},[3988],{"question":3989,"answer":3990},"\u003Cp>Your pieces feel functional yet sculptural. Do you start with an object’s purpose or its form?\u003C\u002Fp>\n","\u003Cp>Creating pieces that have a function beyond their aesthetic qualities is an essential part of my work. This is absolutely the first thing I think of when coming up with a new design. It is also something which can be quite challenging as it often involves having to think technically about how best to create robust pieces that will be durable and safe to use.\u003C\u002Fp>\n",{"images":3992,"size":84,"_type":57},[3993],{"_id":3994,"url":3995,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},953,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-3.jpg",{"questions":3997,"_type":45},[3998],{"question":3999,"answer":4000},"\u003Cp>Do you treat pattern, colour, or shape as a form of storytelling in your work?\u003C\u002Fp>\n","\u003Cp>Colour pattern and shape is such an integral part of my work and I believe my use of colour really defines a particular style that is personal to me. I like my pieces to be bold and original to encourage my audience to take risks and see their homes as somewhere to have fun and feel inspired.\u003C\u002Fp>\n",{"images":4002,"size":84,"_type":57},[4003],{"_id":4004,"url":4005,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},954,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-2.jpg",{"questions":4007,"_type":45},[4008],{"question":4009,"answer":4010},"\u003Cp>Has there been a piece that completely surprised you in the making?\u003C\u002Fp>\n","\u003Cp>A little while ago I self-organised a show for Deptford X Arts Festival. It involved creating seven unique pieces that were hung in a brewery taproom and made available via online auction to raise funds for a local charity. This was quite early on in my paper mâché journey and what surprised me was the incredible support and encouragement I received from those who bought my work. I met some really great people through doing that project and still really value the validity that finding an audience gave me.\u003C\u002Fp>\n",{"variant":64,"images":4012,"_type":73},[4013,4016],{"_id":4014,"url":4015,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},955,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10-1.jpg",{"_id":4017,"url":4018,"alt":18,"caption":18,"credit":18,"width":3940,"height":3876},956,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-2.jpg",{"questions":4020,"_type":45},[4021],{"question":4022,"answer":4023},"\u003Cp>Your work feels playful—how important is humor or lightness in your practice or life?\u003C\u002Fp>\n","\u003Cp>Absolutely! I think this comes from a place of wanting to promote accessibility and engagement from my audience. I want my work to bring enjoyment to people, so I deliberately try to not take myself too seriously and be transparent about my process, failures and achievements. I want to bring people along for the ride and encourage others to pursue creative projects as passionately as I do.\u003C\u002Fp>\n",{"questions":4025,"_type":45},[4026],{"question":4027,"answer":4028},"\u003Cp>What’s something new you’re curious to explore next?\u003C\u002Fp>\n","\u003Cp>I recently started a video series on Instagram called ‘Making Things With Annie’ that aims to explore different ways of making and sculpture techniques in an accessible and informative way. The common thread is working with as many found or recycled materials as possible. This process has been a great source of inspiration for incorporating new elements into my lamp designs and at the moment I’m working on creating some lamp key rings off the back of trying out casting with pewter for the first time.\u003C\u002Fp>\n",{"images":4030,"size":84,"_type":57},[4031],{"_id":4032,"url":4033,"alt":18,"caption":18,"credit":18,"width":1790,"height":29},957,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F12-1-scaled.jpg",{"questions":4035,"_type":45},[4036],{"question":4037,"answer":4038},"\u003Cp>Is there a specific object, material, or concept you’ve always wanted to work with but haven’t yet?\u003C\u002Fp>\n","\u003Cp>I’ve always wanted to work with re-formed plastics and this is actually something I’m planning to cover in an upcoming video for the ‘Making Things With Annie’ video series.\u003C\u002Fp>\n",{"questions":4040,"_type":45},[4041],{"question":638,"answer":4042},"\u003Cp>I like to prioritise building relationships with independent businesses, small galleries and arts spaces, a full list of stockists is available on my website (\u003Ca href=\"https:\u002F\u002Fanniestrachan.co.uk\">www.anniestrachan.co.uk\u003C\u002Fa>) where you can also find links to exclusive pieces created for Felt Collections and San Mei Gallery. My Instagram (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fpulpsculptuur\u002F?hl=en\">@pulpsculptuur\u003C\u002Fa>) is the best place to stay updated on news of upcoming shows. This year, I’m taking part in two exhibitions that will involve producing site specific works, one of these is part of the Estuary Festival, taking place in June.\u003C\u002Fp>\n",{"_type":6,"_id":4044,"slug":4045,"name":4046,"index":4047,"date":4048,"thumbnails":4049,"description":4057,"footerImage":4058,"categories":4063,"sections":4065},459,"elio-mercer","Elio Mercer",31,"2025-05-14",{"quote":4050,"main":4051,"secondary":4056,"reverse":24},"\u003Cp>“Lost boyhood and masculine embodiment are very often what I am drawn to express.”\u003C\u002Fp>\n",{"image":4052,"background":21,"fit":22},{"_id":4053,"url":4054,"alt":18,"caption":18,"credit":18,"width":1790,"height":4055},2801,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-3-scaled-1.jpg",2156,{"image":24,"background":21,"fit":22},"\u003Cp>Elio Mercer is a British visual artist based in Denmark. This practice centres on masculinity, power, and memory, explored through a trans lens. Working in painting, drawing, and object-making, he investigates how adulthood is shaped by masculine archetypes and social structures, and how softness, vulnerability, and longing can exist within and against them.\u003C\u002Fp>\n",{"_id":4059,"url":4060,"alt":18,"caption":18,"credit":18,"width":4061,"height":4062},959,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-6.jpg",1794,2559,[4064],{"_id":127,"slug":146,"name":147},[4066,4071,4076,4086,4091,4097,4102,4107,4114,4119,4124,4129,4134,4140,4145,4151,4156,4161,4166,4172,4177],{"questions":4067,"_type":45},[4068],{"question":4069,"answer":4070},"\u003Cp>What’s your name and where are you currently based?\u003C\u002Fp>\n","\u003Cp>I’m Elio Mercer, and I am a British artist living and working in Copenhagen, Denmark.\u003C\u002Fp>\n",{"questions":4072,"_type":45},[4073],{"question":4074,"answer":4075},"\u003Cp>How would you describe your design approach in a few words?\u003C\u002Fp>\n","\u003Cp>My practice mainly focuses on exploring masculinity, and how that can be visualised through a trans masculine lens. My most often used mediums are airbrush painting, drawing and wooden construction.\u003C\u002Fp>\n",{"variant":222,"images":4077,"_type":73},[4078,4082],{"_id":4079,"url":4080,"alt":18,"caption":18,"credit":4081,"width":1222,"height":4062},960,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-4.jpg","Joe L; Production by Lisa; Makeup by Sarah",{"_id":4083,"url":4084,"alt":18,"caption":18,"credit":18,"width":1790,"height":4085},961,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-4-scaled.jpg",2413,{"questions":4087,"_type":45},[4088],{"question":4089,"answer":4090},"\u003Cp>What subjects are you looking to explore?\u003C\u002Fp>\n","\u003Cp>Lost boyhood and masculine embodiment are very often what I am drawn to express. Ideas of perceptions in childhood versus adulthood, and how materials and forms can reconcile these thoughts and ideas.\u003C\u002Fp>\n",{"images":4092,"size":139,"_type":57},[4093],{"_id":4094,"url":4095,"alt":18,"caption":18,"credit":18,"width":4096,"height":3908},461,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUntitled-1-Recovered.jpg",1849,{"questions":4098,"_type":45},[4099],{"question":4100,"answer":4101},"\u003Cp>How much do you plan a piece before starting? Or do you let it unfold intuitively?\u003C\u002Fp>\n","\u003Cp>I use drawing often as a tool to explore ideas for compositions and general exporations, so that is often a first step. I also use a lot of photos as references, and will sometimes go straight from a photo to painting. It really depends of the overall composition I am wanting, and other times I am more open to see how something turns out without much planning.\u003C\u002Fp>\n",{"questions":4103,"_type":45},[4104],{"question":4105,"answer":4106},"\u003Cp>Denim carries a long history tied to masculinity, labor, and rebellion, what does it mean to you personally?\u003C\u002Fp>\n","\u003Cp>The physicality of masculinity through fabrics and materials is often present in my work. Denim in particular has always been interesting to me as a representation of this, often a useful signifier in my works that have a sense of anonymity around them. It is also very distinctive, even when drawing from archive photography, and carries its texture as well as light and shade very well.\u003C\u002Fp>\n",{"images":4108,"size":56,"_type":57},[4109],{"_id":4110,"url":4111,"alt":18,"caption":18,"credit":18,"width":4112,"height":4113},962,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-3.jpg",2454,1742,{"questions":4115,"_type":45},[4116],{"question":4117,"answer":4118},"\u003Cp>You often work with soft materials or soft aesthetics to explore hard themes. How do you approach that contrast?\u003C\u002Fp>\n","\u003Cp>I tried out lots of different mediums and techniques before arriving at airbrush. I was seeking a way to have a lot of control over light and shade, while there also being a softness and flow to the work. A lot of my painting start out with a light was of colour on unfinished canvas. This knocks back any super highlights, and adds a soft dimness to the work. I then go in with light layers of airbrush to achieve the different folds and shadows of the piece\u003C\u002Fp>\n\u003Cp>In terms of concept marrying with form, I really enjoy the dichotomy of often quite energetic or harsh forms, and how airbrush allows we to render that in this very delicate airy way. It really gets down to something I’m always seeking, is a way for these two things to exist together.\u003C\u002Fp>\n",{"questions":4120,"_type":45},[4121],{"question":4122,"answer":4123},"\u003Cp>Do you think your idea of masculinity has shifted over time through making this work?\u003C\u002Fp>\n","\u003Cp>My practice has actually been a journey in line with my transition, and has developed along the way with me. I started off looking very inwardy and in a way more isolated from outside stimuli. That has shifted, and I have become more interested in seeking out other experiences and stories that resonate.\u003C\u002Fp>\n\u003Cp>In terms of my ideas of masculinity, it has shifted and meant many things over time. Through lived experience as well as exploration through my work, I find it ever expanding. Taking a step back from the social structures and toxic ideas that we understand and see all the time, there are many layers beneath where expansive ideas around gender and existence can be found. To be in the position to experience and explore these ideas through many iterations of my work but also myself, I find myself winning greater humility and nuances within these ideas. Queerness also plays a large part in the understanding, and trying to stretch out this idea of not just sexuality but queerness in life and experience.\u003C\u002Fp>\n\u003Cp>Looking at the historical practice of bronco riding in Rodeo for example. On the surface full of all the machismo and bullishness we associate with a certain type of masculinity. But what I take from these ideas when I think a little deeper is this idea of a shared interest and celebration of these mens love for these animals. A deep respect for horticultural practices and knowledge sharing. On top of this the very pure tendency to pageantry and competition, the sweet act of wanting other men to watch you ride your horse. Whatever that little nugget inside of saying ’no homo’ or ‘uh gay’ has to offer and teach us about outselves and our desires.\u003C\u002Fp>\n",{"images":4125,"size":56,"_type":57},[4126],{"_id":4127,"url":4128,"alt":18,"caption":18,"credit":18,"width":4112,"height":4113},963,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-4.jpg",{"questions":4130,"_type":45},[4131],{"question":4132,"answer":4133},"\u003Cp>How do you define the idea of a “semi-functional object”?\u003C\u002Fp>\n","\u003Cp>Some of my newer work dives more into ideas of lost boyhood and childhood ideas around gender. I have been working mostly with wood, and a very primal and simple material. I length of wood you may pick up as a child and call a sword.\u003C\u002Fp>\n\u003Cp>Some of these have taken the form of what I would call semi-functional objects. Pieces with a decorative form, extrapolated from a functional object. I have been playing with forms inspired by candle holders. Evoking ideas of votive candle lighting, but as abstracted translations of childhood ideas around objects. These objects evoke in me ideas around the need for communion and prayer, less in the religious sense, and more in the mindset of loneliness and the search for belonging and meaning. Often mixed with more adult objects like cigarette packets, or drawings, push together these two strings of thought; the child self, the now self.\u003C\u002Fp>\n",{"images":4135,"size":56,"_type":57},[4136],{"_id":4137,"url":4138,"alt":18,"caption":18,"credit":18,"width":4139,"height":1790},964,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-4-scaled.jpg",1690,{"questions":4141,"_type":45},[4142],{"question":4143,"answer":4144},"\u003Cp>You talk about wanting to be “watched” in acts of bravery, do you think your work is asking for witnesses too?\u003C\u002Fp>\n","\u003Cp>So much of gender and existence is presentation, so I think it only makes sense that we want to be witnesses in order to validate and make our existence ‘real’ and true? I am always very open to any readings of my work, but I think some understanding of the meeting of the different facets of masculine experience are a success. The hard with the soft, and the two things being true at once.\u003C\u002Fp>\n",{"images":4146,"size":84,"_type":57},[4147],{"_id":4148,"url":4149,"alt":18,"caption":18,"credit":18,"width":1790,"height":4150},965,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-4-scaled.jpg",1689,{"questions":4152,"_type":45},[4153],{"question":4154,"answer":4155},"\u003Cp>Your painting titles like ‘Make me a partner of the wind and sun’ read like poetry. Where do these phrases come from?\u003C\u002Fp>\n","\u003Cp>That particular series of works have names taken from a Cowboy Prayer card I was gifted by a friend. The cowboy archetype is something I often revisit, as I think there are complexities there that I really enjoy exploring. The ideas of peak masculine virility and strength, also mixed with ideas of loneliness and longing. This paired with queer understones and readings of masculine friendship and camaraderie all come together in a delicious soup of meaning that is rife for depicting.\u003C\u002Fp>\n",{"questions":4157,"_type":45},[4158],{"question":4159,"answer":4160},"\u003Cp>Do you keep any rituals before you start painting? Or in your daily life?\u003C\u002Fp>\n","\u003Cp>My working routine is quite sporadic, and is a lot of thinking and distractions, with short spurts of making. Most painting are finished in a couple of sittings, and come together relatively quickly. I think in terms of ideation I also spend a lot of unconscious time working out ideas for works, so when I come to actually create it sort of just appears.\u003C\u002Fp>\n\u003Cp>I do try to always have a book on the go, most times some sort of fiction. I find having some sort of constant input or narrative and language is useful to me in terms of feeling inspired by how to express ideas, and also helps a lot with spending too much time on my phone!\u003C\u002Fp>\n",{"questions":4162,"_type":45},[4163],{"question":4164,"answer":4165},"\u003Cp>Do you think of your practice as self-portraiture, even when your figure isn’t present?\u003C\u002Fp>\n","\u003Cp>There is definitely and examination of self in my practice, and trying to make sense of internal thoughts and expressions. I find it useful to do a lot of the invesctioncan through reflections others, often through history.\u003C\u002Fp>\n\u003Cp>Some early paintings I made were semi-self portraiture. They were a series of pieces looking at bodies in water. They were created just after I got top surgery, and came as a sort of self actualisation of memories of swimming topless as a child, and that coming full circle into my experience of swimming for the first time post surgery. I think these milestones are interesting to explore, as they mix actual experiences with imagining and dreams from childhood. A mixture of what you imaged versus it coming to being.\u003C\u002Fp>\n\u003Cp>Also a more recent series of small on paper works have been working with ideas of memories of past imagination, and projects of ones loneliness into more cinematic and picturesque forms. They depict scenes you might see as stills from a film set in the Californian desert, or a long winding road somewhere far away. Romanticising loneliness and lostness in the present, to merge the soft with the hard.\u003C\u002Fp>\n",{"images":4167,"size":56,"_type":57},[4168],{"_id":1265,"url":4169,"alt":18,"caption":18,"credit":18,"width":4170,"height":4171},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-4.jpg",1573,2164,{"questions":4173,"_type":45},[4174],{"question":4175,"answer":4176},"\u003Cp>At one of your exhibitions, what do you hope people notice first, and what do you hope they notice last?\u003C\u002Fp>\n","\u003Cp>I think people pick up on the main themes of my work quite quickly, but I think something I really enjoy is the fun and playfulness that people respond to in the work. I am often mining from quite ’serious’ and complex feelings, so for them to be enjoyed with joyfulness is very transformative to what the pieces are able to come to represent.\u003C\u002Fp>\n",{"questions":4178,"_type":45},[4179],{"question":638,"answer":4180},"\u003Cp>You can follow my practice and general random life things on instagram. @eliomercer\u003C\u002Fp>\n\u003Cp>I have my first solo exhibition upcoming this spring in Stevns, Denmark. It will be on May 31st, more to be announced on this soon 🙂\u003C\u002Fp>\n",{"_type":6,"_id":4182,"slug":4183,"name":4184,"index":4185,"date":4186,"thumbnails":4187,"description":18,"footerImage":4195,"categories":4197,"sections":4199},484,"in-company","In Company",32,"2025-05-16",{"quote":4188,"main":4189,"secondary":4194,"reverse":24},"\u003Cp>“seeing the art in the ordinary as much as extraordinary”\u003C\u002Fp>\n",{"image":4190,"background":21,"fit":22},{"_id":4191,"url":4192,"alt":18,"caption":18,"credit":18,"width":4193,"height":4193},485,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FCompressed-in-company-1.jpg",982,{"image":24,"background":21,"fit":22},{"_id":1661,"url":4196,"alt":18,"caption":18,"credit":18,"width":4193,"height":4193},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002Fcomp-In-company-2.jpg",[4198],{"_id":33,"slug":34,"name":35},[4200,4205,4210,4216,4221,4229,4234,4238,4243,4247,4253,4258,4263,4268],{"questions":4201,"_type":45},[4202],{"question":4203,"answer":4204},"\u003Cp>What’s your name and where are you from\u002FBased?\u003C\u002Fp>\n","\u003Cp>I am Grace, the founder of In Company, a design studio based in Cape Town, South Africa.\u003C\u002Fp>\n",{"questions":4206,"_type":45},[4207],{"question":4208,"answer":4209},"\u003Cp>Collection One transforms solar geyser tubes into glassware. What is this material? How did you first come across it and what drew you to it?\u003C\u002Fp>\n","\u003Cp>‘Collection One’ is a range of handblown glassware, crafted from reused borosilicate glass tubes, which were originally made for solar geyser heating. Unfortunately, borosilicate glass cannot be recycled with regular glass and thus is rejected from mainstream recycling depots, this does however give it another chance to be reworked. Borosilicate glass is what scientific glass equipment is made of – it can withhold incredible heat, is light and strong – a perfect balance of delicate and durable. I wanted to create a drinking glass that shared and embodied this juxtaposition: imperfect yet structured, sophisticated yet playful, familiar yet surprising, hard yet organic.\u003C\u002Fp>\n",{"images":4211,"size":84,"_type":57},[4212],{"_id":4213,"url":4214,"alt":18,"caption":18,"credit":18,"width":1790,"height":4215},969,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-7-scaled.jpg",1602,{"questions":4217,"_type":45},[4218],{"question":4219,"answer":4220},"\u003Cp>How do you approach the design of something that will always end up slightly different in its final form? Does letting go of precision open something new in your process?\u003C\u002Fp>\n","\u003Cp>The intention of crafting each artful object was that each is a unique sculpture, no two are the same. Although there’s a rough design for each: the wine shape, tumbler and cocktail glasses, they develop their own personality through the process which is not only welcomed but encouraged. The lack of precision is where the essence of the glass’ design integrity comes through.\u003C\u002Fp>\n",{"variant":1116,"images":4222,"_type":73},[4223,4226],{"_id":4224,"url":4225,"alt":18,"caption":18,"credit":18,"width":1479,"height":1790},970,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-5-scaled.jpg",{"_id":4227,"url":4228,"alt":18,"caption":18,"credit":18,"width":1479,"height":1790},971,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-5-scaled.jpg",{"questions":4230,"_type":45},[4231],{"question":4232,"answer":4233},"\u003Cp>You describe your work as questioning the relationship between objects, people, and society. What kind of conversations do you hope your pieces spark?\u003C\u002Fp>\n","\u003Cp>I hope these pieces spark appreciation for craft, appreciation for the objects we surround ourselves with, seeing the art in the ordinary as much as extraordinary. I hope they bring an awareness of what we choose to focus on in life; an intentional approach to life; encouraging a level of intimacy to be shared between objects, people and their broader environment holistically.\u003C\u002Fp>\n",{"images":4235,"size":56,"_type":57},[4236],{"_id":1494,"url":4237,"alt":18,"caption":18,"credit":18,"width":1479,"height":1790},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-4-scaled.jpg",{"questions":4239,"_type":45},[4240],{"question":4241,"answer":4242},"\u003Cp>Are there other recycled or overlooked materials you’re curious to experiment with next?\u003C\u002Fp>\n","\u003Cp>Certainly, waste should be seen as a resource.\u003C\u002Fp>\n",{"questions":4244,"_type":45},[4245],{"question":2129,"answer":4246},"\u003Cp>Perhaps the gentle hum of the ringing of a glass, when one traces a wet finger over the rim – orchestral, smooth, meditative, surprising. Ironically, this wouldn’t be the sound made if you tried with these, so perhaps just the sound of a gentle cheers.\u003C\u002Fp>\n",{"images":4248,"size":84,"_type":57},[4249],{"_id":4250,"url":4251,"alt":18,"caption":18,"credit":18,"width":1790,"height":4252},973,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-5-scaled.jpg",1975,{"questions":4254,"_type":45},[4255],{"question":4256,"answer":4257},"\u003Cp>Is there anything in life that you feel you had to unlearn?\u003C\u002Fp>\n","\u003Cp>There are so many foundational and developmental notions that are worthy of unlearning, it makes sense to me to encourage unlearning as much as learning. Building and rebuilding ideas, creations and sense of self, towards growth and expansion.\u003C\u002Fp>\n",{"questions":4259,"_type":45},[4260],{"question":4261,"answer":4262},"\u003Cp>Do you think this collection is a one-off, or does it open a door into a new kind of making for your studio?\u003C\u002Fp>\n","\u003Cp>This first collection came with no expectations or cherished outcomes, but a simple, stubborn desire to make, which is as addictive as it is satisfying.\u003C\u002Fp>\n",{"images":4264,"size":139,"_type":57},[4265],{"_id":4266,"url":4267,"alt":18,"caption":18,"credit":18,"width":1790,"height":4252},975,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-5-scaled.jpg",{"questions":4269,"_type":45},[4270],{"question":638,"answer":4271},"\u003Cp>In Company is stocked at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002F_akjpstudio\u002F\">AKJP Studio\u003C\u002Fa> in Cape Town, as well as directly available through In Company or via mail directly (info@incompany.online)\u003C\u002Fp>\n",{"_type":6,"_id":4273,"slug":4274,"name":4275,"index":4276,"date":4277,"thumbnails":4278,"description":18,"footerImage":4286,"categories":4290,"sections":4292},489,"abdulmohsen-albinali","Abdulmohsen Albinali",33,"2025-05-18",{"quote":4279,"main":4280,"secondary":4285,"reverse":24},"\u003Cp>“When I founded The N.E.S.T., I was thinking of the space I needed when I first began my own professional practice…”\u003C\u002Fp>\n",{"image":4281,"background":21,"fit":56},{"_id":4282,"url":4283,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},976,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-8-scaled.jpg",1712,{"image":24,"background":21,"fit":22},{"_id":4287,"url":4288,"alt":18,"caption":18,"credit":18,"width":4289,"height":4193},491,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUntitled-2.jpg",654,[4291],{"_id":127,"slug":146,"name":147},[4293,4297,4301,4305,4310,4315,4320,4328,4333,4336,4341,4348,4353,4362,4367,4373,4378,4383,4387,4392,4397,4403,4408],{"questions":4294,"_type":45},[4295],{"question":1766,"answer":4296},"\u003Cp>My name is Abdulmohsen Albinali. I am from Dammam and based in AlUla, Saudi Arabia.\u003C\u002Fp>\n",{"questions":4298,"_type":45},[4299],{"question":3060,"answer":4300},"\u003Cp>My work investigates the correlations between the personal\u002F collective perception of nature and our place within it. Through the use of myth as a reference point to examine the human capacity to experience nature, my works incorporate natural elements such as landscapes, ecosystems, and biodiversity. My aesthetic stems from research in history and anthropology. I explore a variety of different subject matter connected to folklore, history, archeology, and gardening through a variety of conceptual frameworks driven by an inherent fascination with the natural world.\u003C\u002Fp>\n",{"images":4302,"size":84,"_type":57},[4303],{"_id":20,"url":4304,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-6-scaled.jpg",{"questions":4306,"_type":45},[4307],{"question":4308,"answer":4309},"\u003Cp>You grew up in an artistic household, what kind of creativity surrounded you at home?\u003C\u002Fp>\n","\u003Cp>I grew up in a home that deeply valued art and art history. My mother was a painter, and she taught me to paint when I was four years old, so creativity was always present and encouraged.\u003C\u002Fp>\n",{"images":4311,"size":84,"_type":57},[4312],{"_id":4313,"url":4314,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},977,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-6-scaled.jpg",{"questions":4316,"_type":45},[4317],{"question":4318,"answer":4319},"\u003Cp>When did you first realize that art would be your lifelong pursuit?\u003C\u002Fp>\n","\u003Cp>It happened when I was pursuing a pre-law degree abroad 17 years ago. During that time, I was exposed to the idea of art schools and art as a career, and that exposure shifted the course of my life.\u003C\u002Fp>\n",{"variant":1116,"images":4321,"_type":73},[4322,4325],{"_id":4323,"url":4324,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},978,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-6-scaled.jpg",{"_id":4326,"url":4327,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},979,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-5-scaled.jpg",{"questions":4329,"_type":45},[4330],{"question":4331,"answer":4332},"\u003Cp>You move between film, sculpture, drawing, and installation. What pulls you toward a specific medium in each project?\u003C\u002Fp>\n","\u003Cp>I think of it as a holistic exploration. Each medium offers a different way to articulate a subject. Some ideas need the movement and layering of film, others the presence and materiality of sculpture or drawing. It’s about finding the right language for each exploration and understanding the many ways or limitations one subject or story can be told via its medium.\u003C\u002Fp>\n",{"images":4334,"size":139,"_type":57},[4335],{"_id":20,"url":4304,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},{"questions":4337,"_type":45},[4338],{"question":4339,"answer":4340},"\u003Cp>You often blend cultural heritage with contemporary forms. How do you balance memory and innovation?\u003C\u002Fp>\n","\u003Cp>Memory is deeply personal, even collective memory is filtered through individual experience. I believe in understanding memory and heritage without being confined by it, using it as a force to move forward rather than a weight holding us back.\u003C\u002Fp>\n\u003Cp>At the same time, I acknowledge that personal input will always be present in my work, no matter how much I romanticize the idea of preservation. Hence, I embrace the personal and make it very present in my practice.\u003C\u002Fp>\n",{"variant":1179,"images":4342,"_type":73},[4343,4345],{"_id":109,"url":4344,"alt":18,"caption":18,"credit":18,"width":1790,"height":4284},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-6-scaled.jpg",{"_id":4193,"url":4346,"alt":18,"caption":18,"credit":18,"width":653,"height":4347},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-5.jpg",2132,{"questions":4349,"_type":45},[4350],{"question":4351,"answer":4352},"\u003Cp>Is there a piece that came together with ease, and which one resisted you at every step?\u003C\u002Fp>\n","\u003Cp>I have interests that genuinely fascinate me ”nature, history, gardening, mythology”. These subjects swim in my mind, and I often find myself thinking, daydreaming, and philosophizing about them. Every once in a while, an idea appears so strongly that it feels almost like it’s collected from the air, it arrives vividly, and I have an instinct to create it or at least I  write it down immediately for later. These ideas tend to come together with ease.\u003C\u002Fp>\n\u003Cp>The pieces that resist me are usually the ones that need to be told through a new medium, where I have to learn, explore, and reach a new level of craftsmanship. The beginning is always exciting, the middle is where I start questioning everything and face the most difficulty, and then, at the end, the work usually reveals itself to me.\u003C\u002Fp>\n",{"variant":1116,"images":4354,"_type":73},[4355,4358],{"_id":380,"url":4356,"alt":18,"caption":18,"credit":18,"width":1790,"height":4357},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-5-scaled.jpg",1750,{"_id":4359,"url":4360,"alt":18,"caption":18,"credit":18,"width":4361,"height":4347},984,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-4.jpg",1503,{"questions":4363,"_type":45},[4364],{"question":4365,"answer":4366},"\u003Cp>Can you tell us the story behind founding The N.E.S.T.?\u003C\u002Fp>\n","\u003Cp>As a cultural worker in AlUla for almost the past 2 years, my nine-to-five role is working in the museum it exposes me to a lot of ancient heritage objects contemporary artwork and artists, which is incredible and has given me so much insight as an artist about how art and artists are viewed in museums, and the metrics by which they are often measured. But at the same time, no matter how amazing institutions are, it’s critical to have independent, artist-led spaces, without gatekeepers, without bureaucracy, where artists can meet on a personal, intimate level and create freely. I noticed a gap that needed to be filled: there were no spaces for artists outside of formal institutions here. I felt there was a need to offer them a space to practice, to create, and to contribute something beautiful while they were here.\u003C\u002Fp>\n\u003Cp>So I founded The N.E.S.T. (New Experimental Salon for Travelers). I used the word “travelers” intentionally, because the majority of artists who come here are not based in AlUla, but are traveling through. It ties back to the traditional role of AlUla as a historical pit stop for pilgrims on their way to Mecca. Pilgrims would leave their belongings here before continuing their journey in religious garments called ihram, a simple white clothing worn during the sacred pilgrimage.\u003C\u002Fp>\n\u003Cp>In a way, The N.E.S.T. mirrors that ancient role but through an artistic lens: it is a place where artists are invited to travel, stay, create, and leave behind a trace of their journey. Their works are exhibited for a limited time before continuing onward, just as the travelers themselves once did.\u003C\u002Fp>\n",{"images":4368,"size":84,"_type":57},[4369],{"_id":4370,"url":4371,"alt":18,"caption":18,"credit":18,"width":1790,"height":4372},985,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10-2-scaled.jpg",1717,{"questions":4374,"_type":45},[4375],{"question":4376,"answer":4377},"\u003Cp>Why was it important for you to create an independent art space in AlUla?\u003C\u002Fp>\n","\u003Cp>It is important because we need artist-led initiatives and open dialogue. This has always been a dream of mine, and AlUla felt like the right place and the right moment to bring it to life. I make sure The N.E.S.T. remains open to all artists. I invest in both established artists and those who are just starting their journey. For example, Artist ”Kawokab” who exhibited at the N.E.S.T had never created a work before being invited.\u003C\u002Fp>\n\u003Cp>This is the spirit of the space: to take risks, to encourage, and to support artists who might not otherwise have the opportunity to realize their ideas.\u003C\u002Fp>\n\u003Cp>When I founded The N.E.S.T., I was thinking of the space I needed when I first began my own professional practice. At the time, finding a platform was incredibly difficult. As a young artist, it was hard to find an art space willing to invest in my talent or believe in what I was trying to build. The N.E.S.T. is, in many ways, a response to that experience, an invitation for others to find support, trust, and the freedom to create.\u003C\u002Fp>\n",{"questions":4379,"_type":45},[4380],{"question":4381,"answer":4382},"\u003Cp>Has running a community-centered space shifted the way you see your own practice?\u003C\u002Fp>\n","\u003Cp>When I’m running the space, I’m there to support other artists and their work, not to center my own practice. I have my own studio for my personal projects. But what I would say is that working with so many amazing artists has encouraged me to think more about future collaborations.\u003C\u002Fp>\n",{"images":4384,"size":84,"_type":57},[4385],{"_id":1603,"url":4386,"alt":18,"caption":18,"credit":18,"width":1790,"height":4372},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-3-scaled.jpg",{"questions":4388,"_type":45},[4389],{"question":4390,"answer":4391},"\u003Cp>On your global experiences, how does your practice change when placed in a completely new cultural or geographic location?\u003C\u002Fp>\n","\u003Cp>Whenever I work abroad, I try to disarm the idea of the “other” by investigating the local mythologies, stories, and histories, which I then incorporate into my thinking. I look for ties between these and my own practice, finding common traits and interesting points of connection that I can highlight and explore. I search for bridges between different cultural narratives, allowing for dialogue rather than distance, and letting the work grow from a place of mutual understanding.\u003C\u002Fp>\n",{"questions":4393,"_type":45},[4394],{"question":4395,"answer":4396},"\u003Cp>You’ve said your work explores transformation. What does transformation mean to you personally?\u003C\u002Fp>\n","\u003Cp>Transformation, for me, is not necessarily elevation but rather adaptation. It’s evolution. It’s things that mutate and change depending on the circumstance. Just like natural selection, I look at transformation that way, not necessarily with a specific destination or with a narrow mind of getting somewhere, but rather experiencing and exploring what is possible with what we have now, the tools we have at our disposal and how that can manifest a new form.\u003C\u002Fp>\n\u003Cp>An example would be how the matrial world is perceived and reinterpreted through the mind, such as animism, how we take our natural environment and then we recreate it through world-building and mythologies, and we end up having different scenarios where other living creatures around us become characters that affect our lives and reflect the human in us onto them through allegories and stories.\u003C\u002Fp>\n",{"images":4398,"size":84,"_type":57},[4399],{"_id":4400,"url":4401,"alt":18,"caption":18,"credit":18,"width":2488,"height":4402},987,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F12-2.jpg",1970,{"questions":4404,"_type":45},[4405],{"question":4406,"answer":4407},"\u003Cp>What are you ever to explore next in your practice?\u003C\u002Fp>\n","\u003Cp>I am eager to explore writing and staging a full play. I would love to create the entire world of the play, applying all my experience and training into the stage design, props, costumes, and narrative. I want to work closely with composers, choreographers, and actors to build a complete production.\u003Cbr \u002F>\nI already have a specific topic and idea in mind, and I have been writing notes for some time, preparing for the opportunity should it arise. This is a long-term project I have been quietly developing, and I am excited about the possibility of one day seeing it fully manifest.\u003C\u002Fp>\n",{"questions":4409,"_type":45},[4410],{"question":638,"answer":4411},"\u003Cp>At the moment, The N.E.S.T. is closed for the summer period as we plan our upcoming activities, which will take place between September 2025 and March 2026. We have a rich program ahead, including artist residencies, exhibitions, workshops, performances, immersive dinners, and our planned monthly film club.\u003Cbr \u002F>\nPlease stay tuned, you can follow us on Instagram at @n.e.s.t_alula, where we will be sharing updates and announcements as we progress.\u003C\u002Fp>\n",{"_type":6,"_id":1156,"slug":4413,"name":4414,"index":4415,"date":4416,"thumbnails":4417,"description":18,"footerImage":4426,"categories":4430,"sections":4432},"lucas-barcelo-ibarra","Lucas Barceló Ibarra",34,"2025-05-20",{"quote":4418,"main":4419,"secondary":4425,"reverse":24},"\u003Cp>“I think that I always return to my childhood in Mallorca as one of my main points of inspiration”\u003C\u002Fp>\n",{"image":4420,"background":21,"fit":139},{"_id":4421,"url":4422,"alt":18,"caption":18,"credit":18,"width":4423,"height":4424},2807,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FGroup-267-e.jpg",1320,1632,{"image":24,"background":21,"fit":22},{"_id":4427,"url":4428,"alt":18,"caption":18,"credit":18,"width":4370,"height":4429},495,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FPortrait.jpg",1124,[4431],{"_id":259,"slug":260,"name":261},[4433,4437,4441,4449,4454,4460,4465,4472,4477,4482,4487,4495,4500,4505,4510,4519,4524,4529,4533,4538,4543],{"questions":4434,"_type":45},[4435],{"question":1766,"answer":4436},"\u003Cp>My name is Lucas Barceló Ibarra and I am from Mallorca, Spain. I was based in\u003Cbr \u002F>\nMelbourne, Australia for about 7 years before moving to Riyadh, Saudi Arabia,\u003Cbr \u002F>\nin 2023.\u003C\u002Fp>\n",{"questions":4438,"_type":45},[4439],{"question":2426,"answer":4440},"\u003Cp>I was trained as a furniture designer and cabinet maker but have liked ceramics since childhood. I returned to hand building ceramics a few years ago while working for a furniture company and decided to do it full-time. I now run a studio making sculptural ceramic pieces.\u003C\u002Fp>\n",{"variant":1116,"images":4442,"_type":73},[4443,4446],{"_id":4444,"url":4445,"alt":18,"caption":18,"credit":18,"width":2488,"height":4402},989,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-9.jpg",{"_id":4447,"url":4448,"alt":18,"caption":18,"credit":18,"width":2488,"height":4402},990,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-7.jpg",{"questions":4450,"_type":45},[4451],{"question":4452,"answer":4453},"\u003Cp>How has your early experience in ceramics as a child in Mallorca stayed with you? And what drew you back after working in cabinetmaking and furniture design?\u003C\u002Fp>\n","\u003Cp>As a child you learn things in a way that become quite innate. Muscle memory. Returning to ceramics, I felt like I already knew how to hand build and to work with clay but I was returning to a practice with a better understanding of design and function. Working in timber furniture is very machine intensive. Hand building ceramics is more natural, it’s just you and the material.\u003C\u002Fp>\n",{"images":4455,"size":56,"_type":57},[4456],{"_id":4457,"url":4458,"alt":18,"caption":18,"credit":18,"width":2488,"height":4459},991,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-7.jpg",1557,{"questions":4461,"_type":45},[4462],{"question":4463,"answer":4464},"\u003Cp>How have the different places you’ve lived and the people you’ve come across shaped your work?\u003C\u002Fp>\n","\u003Cp>My childhood in Mallorca up until now has been my main influence. I think Australia influenced me in a more subconscious way. Maybe through the native plants. While living in Saudi Arabia, I am more influenced by my access to materials and overcoming that.\u003C\u002Fp>\n",{"images":4466,"size":139,"_type":57},[4467],{"_id":4468,"url":4469,"alt":18,"caption":18,"credit":18,"width":4470,"height":4471},992,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-6.jpg",1906,1291,{"questions":4473,"_type":45},[4474],{"question":4475,"answer":4476},"\u003Cp>How did building your studio in Riyadh challenge or influence your practice?\u003C\u002Fp>\n","\u003Cp>Riyadh is a difficult place to start something when you don’t have the language, and you don’t know the culture. There were a lot of challenges in sourcing materials. There wasn’t the same access to supplies as in Melbourne, which forced me to become more creative. It was also very frustrating. I had many issues installing my kiln and getting the right ingredients for glazes. It probably took me 12 months to really start using the studio, but I used that time to work on my garden and to think about my practice as an artist. What if I started recycling paper and cardboard as a sculpting material? What if I started using glass? I think the frustrations forced me to open myself up to new possibilities in my artistic identity.\u003C\u002Fp>\n",{"images":4478,"size":84,"_type":57},[4479],{"_id":4480,"url":4481,"alt":18,"caption":18,"credit":18,"width":4470,"height":3476},993,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-7.jpg",{"questions":4483,"_type":45},[4484],{"question":4485,"answer":4486},"\u003Cp>You describe your studio as part of your creative expression. What does that space mean to you?\u003C\u002Fp>\n","\u003Cp>The studio is a special place for me. It’s always a work in progress, but it is also a place that I can relax. There is my studio but there is also a tent and a garden. The place I have rented is called a rest house or istiraha in Khaleeji Arabic. These spaces normally are rented among friends as a place to hang- out away from work and family. The studio is close to my home, so I come here even on the weekends. I have a couple of stray cats who live here now, and I am always adding to my garden. The place is a bit of refuge from the city. Its Peaceful.\u003C\u002Fp>\n",{"variant":1179,"images":4488,"_type":73},[4489,4492],{"_id":4490,"url":4491,"alt":18,"caption":18,"credit":18,"width":4470,"height":3476},994,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-7.jpg",{"_id":4493,"url":4494,"alt":18,"caption":18,"credit":18,"width":4470,"height":3476},995,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-6.jpg",{"questions":4496,"_type":45},[4497],{"question":4498,"answer":4499},"\u003Cp>Can you share a moment when trusting your intuition with materials paid off?\u003C\u002Fp>\n","\u003Cp>Trying to buy the ingredients for glazes was proving impossible and so I started doing my own research into the chemical compounds of things that I had access to. Egg shells, coffee grinds, palm tree branches – I was always\u003Cbr \u002F>\nthrowing these things away and begun to experiment with these materials as alternatives to the store-bought materials for glazes. The most successful has been this dried clay that I found in a wadi (dry river valley) near Riyadh. I fired it and instead of hardening, it melted into a beautiful green glaze. I have a few projects to finish at the moment, but once I have more time I am looking forward to experimenting more with these materials.\u003C\u002Fp>\n",{"images":4501,"size":84,"_type":57},[4502],{"_id":4503,"url":4504,"alt":18,"caption":18,"credit":18,"width":4289,"height":4079},2649,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUntitled-211-Edit.jpg",{"questions":4506,"_type":45},[4507],{"question":4508,"answer":4509},"\u003Cp>Is there a ritual or habit you return to when starting a new piece?\u003C\u002Fp>\n","\u003Cp>I do a lot of visual research so when I start a new piece it comes from a sort of blend of images that I have in the back of my mind. I think the volume of imagery I see through Instagram, travelling, and printed books is what helps give me inspiration and the idea. It usually sits with me for a few days before I start trying it out. Then there is the material of the clay itself. Whether you take control of the clay, or if you allow the clay to respond. There is always the risk of the piece collapsing, and part of this influences the character of the work.\u003C\u002Fp>\n",{"variant":1116,"images":4511,"_type":73},[4512,4516],{"_id":4513,"url":4514,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},997,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-5.jpg",1172,{"_id":4517,"url":4518,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},998,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10-3.jpg",{"questions":4520,"_type":45},[4521],{"question":4522,"answer":4523},"\u003Cp>How has being part of the emerging art and design scene in Riyadh influenced you?\u003C\u002Fp>\n","\u003Cp>It’s been positive. It’s a small scene and so it is easy to connect with people and be part of the community. This means I have closer relationships to museums and galleries. I think the Khaleej in general has a really incredible arts scene that is very welcoming.\u003C\u002Fp>\n",{"questions":4525,"_type":45},[4526],{"question":4527,"answer":4528},"\u003Cp>What part of your work is always evolving, and what do you think will always stay the same?\u003C\u002Fp>\n","\u003Cp>My use of materiality is always evolving. I would like to keep the authenticity of what I do. If I see something that has become too mainstream, I try to move away from it. Like raffia lampshades. I am trying to find alternative solutions for covering my lampshades now as this material has adopted new aesthetic qualities since I first started doing it. I think that I always return to my childhood in Mallorca as one of my main points of inspiration. Annual school trips to the studio of Joan Miró (whose studio is in Palma), and the local folklore of the island will always stay with me.\u003C\u002Fp>\n",{"images":4530,"size":84,"_type":57},[4531],{"_id":3644,"url":4532,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-4.jpg",{"questions":4534,"_type":45},[4535],{"question":4536,"answer":4537},"\u003Cp>What are you exploring with your new series of masks?\u003C\u002Fp>\n","\u003Cp>This is really channelling that Mallorcan folkore – the demons, the supernatural creatures, and the surrealistic rituals. Every year, at the end of carnival, we have the funeral for the sardine, where we burn a fish on Ash Wednesday to mark the beginning of the cuaresma. That’s when a woman with\u003Cbr \u002F>\nseven legs arrives for the seven weeks of lent – a griddle and a sardine in each hand. It’s the absurdity behind these characters from my childhood that keep coming back and so the masks are part of a broader exploration of this Culture.\u003C\u002Fp>\n",{"questions":4539,"_type":45},[4540],{"question":4541,"answer":4542},"\u003Cp>If you had no limitations, what would be your dream project?\u003C\u002Fp>\n","\u003Cp>I have a lot. Build my own house would be one, but as it relates to my practice, I think I would like to make something with a variety of different materials. Ceramic, glass, papier mache, wood, textile – some kind of expression through all these mediums together. I think it would be a sculptural thing. I have been thinking about the meticulous ways in which people dispose of rubbish in\u003Cbr \u002F>\nRiyadh. Sometimes over months or years, a little crack in a wall is filled with people’s rubbish. This group exercise of dealing with detritus. A small expression, like a ritual, that was done without being intentionally aesthetic has become a composition that is very beautiful. It has given me the idea of doing a sculptural work that explores this.\u003C\u002Fp>\n",{"questions":4544,"_type":45},[4545],{"question":638,"answer":4546},"\u003Cp>You can find me at \u003Ca href=\"https:\u002F\u002Flucasbarcelo.com\">lucasbarcelo.com\u003C\u002Fa>, on Instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Flucasbarceloobjects\u002F?hl=en\">lucasbarceloobjects\u003C\u002Fa>, at\u003Cbr \u002F>\nmy studio off-JAX District in Riyadh, at WAMDA pop-up in the Saudi Arabian\u003Cbr \u002F>\nMuseum of Contemporary Art, or in Downtown Design Riyadh from May 20-23.\u003C\u002Fp>\n",{"_type":6,"_id":4548,"slug":4549,"name":4550,"index":4551,"date":4552,"thumbnails":4553,"description":18,"footerImage":4564,"categories":4566,"sections":4568},497,"byron","Byron",35,"2025-05-22",{"quote":4554,"main":4555,"secondary":4560,"reverse":24},"\u003Cp>“communicating through creating is something that I started doing when I was very young, and I haven’t stopped since.”\u003C\u002Fp>\n",{"image":4556,"background":21,"fit":22},{"_id":4557,"url":4558,"alt":18,"caption":18,"credit":18,"width":4370,"height":4559},498,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUntitled-2-1.jpg",1449,{"image":4561,"background":21,"fit":22},{"_id":4562,"url":4563,"alt":18,"caption":18,"credit":18,"width":4370,"height":4559},499,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUntitled-222.jpg",{"_id":204,"url":4565,"alt":18,"caption":18,"credit":18,"width":4370,"height":4559},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11111.jpg",[4567],{"_id":33,"slug":34,"name":35},[4569,4573,4577,4581,4586,4591,4596,4602,4607,4615,4620,4625,4630,4637,4642,4646,4651,4655,4660,4665,4670,4675,4680],{"questions":4570,"_type":45},[4571],{"question":1171,"answer":4572},"\u003Cp>Hello! My name is Byron, and I’m based in Walthamstow, London.\u003C\u002Fp>\n",{"questions":4574,"_type":45},[4575],{"question":2426,"answer":4576},"\u003Cp>In a few words – I am a designer and maker, who wants to ask questions about the world through furniture and objects.\u003C\u002Fp>\n",{"images":4578,"size":84,"_type":57},[4579],{"_id":2024,"url":4580,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-10.jpg",{"questions":4582,"_type":45},[4583],{"question":4584,"answer":4585},"\u003Cp>You describe your process as both a design and communication tool. Can you expand on how making helps you articulate things that words can’t?\u003C\u002Fp>\n","\u003Cp>There are a few things that come to mind – I have dyslexia, and have always struggled with words, so communicating through creating is something that I started doing when I was very young, and I haven’t stopped since.\u003C\u002Fp>\n\u003Cp>It slows everything down. Making furniture isn’t a quick process, as it forces you to re-think, iterate and really refine what you want to say, which allows me to spend longer thinking about an idea or systems of ideas – I can pick it up and put it down physically when I need to. For me, it’s comparable to writing a letter rather than a text.\u003C\u002Fp>\n",{"images":4587,"size":56,"_type":57},[4588],{"_id":4589,"url":4590,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},1002,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-8.jpg",{"questions":4592,"_type":45},[4593],{"question":4594,"answer":4595},"\u003Cp>Much of your work is made from found or waste materials, what typically sparks your interest in a discarded object or offcut?\u003C\u002Fp>\n","\u003Cp>Honestly, I’m always on the lookout for what’s free and readily available. This is where it all started for the studio in the early days, as when materials were expensive, and the studio had little money, it was all about “what can I find?” over “what can I afford?”. The sparks, for me, come from the abundance of these materials, and how unassuming they are; if I can get one or both of these I’m excited. The plasterboard waste in particular has both of these, I think. It’s everywhere – the materiality is gypsum, or plaster dressed up as a construction material, so its usability is endless and construction is always happening.\u003C\u002Fp>\n",{"variant":1179,"images":4597,"_type":73},[4598,4600],{"_id":3078,"url":4599,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-8.jpg",{"_id":3362,"url":4601,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-7.jpg",{"questions":4603,"_type":45},[4604],{"question":4605,"answer":4606},"\u003Cp>Is there a piece you’ve made where the transformation of material felt especially meaningful or poetic to you?\u003C\u002Fp>\n","\u003Cp>Anytime I can successfully elevate a waste or found material – to crack its material code to be something new and beautiful and then use it to make furniture or an object- is pretty special and fun. The months of research followed by testing and refining, getting past all the mistakes and failed attempts to crack it makes it all worth it.\u003C\u002Fp>\n\u003Cp>The wooden offcut patchwork process is particularly poetic for me, in the slowness of glueing all these offcuts together to gradually accumulate into a usable material I really like. It’s become a kind of morning routine to get to the studio, and glue 10-15 offcuts together before the coffee kicks in, effectively warming up my brain and hands for a day of making.\u003C\u002Fp>\n",{"variant":1179,"images":4608,"_type":73},[4609,4612],{"_id":4610,"url":4611,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},1005,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-8.jpg",{"_id":4613,"url":4614,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},1006,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-8.jpg",{"questions":4616,"_type":45},[4617],{"question":4618,"answer":4619},"\u003Cp>How do you hope people feel when they encounter your work?\u003C\u002Fp>\n","\u003Cp>I hope people have strong feelings when encountering my work – they can hate it or love it.  Whether someone thinks one of my chairs is really comfortable, or that it is the worst seating experience they’ve ever had, I’m happy. I’m really interested in this process of taking a “pedestrian”, and catching their attention, engaging with a piece on a truly visceral level – effectively what shop windows do, but with my furniture. I want to play with people’s curiosity, and intrigue them with fun forms and materials.\u003C\u002Fp>\n",{"images":4621,"size":56,"_type":57},[4622],{"_id":4623,"url":4624,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},1007,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-7.jpg",{"questions":4626,"_type":45},[4627],{"question":4628,"answer":4629},"\u003Cp>Has there ever been a material or process you’ve been hesitant to work with but eventually embraced?\u003C\u002Fp>\n","\u003Cp>To be honest, not really, no. I’m quite keen to give everything a go eventually, as I don’t really want to become a specialist in just one material – I’m far more interested in becoming a specialist in the knowledge and processes to elevate all materials. It’s all about being a Jack of All Trades in my practice.\u003C\u002Fp>\n",{"variant":1179,"images":4631,"_type":73},[4632,4634],{"_id":55,"url":4633,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-7.jpg",{"_id":4635,"url":4636,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},1010,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-6.jpg",{"questions":4638,"_type":45},[4639],{"question":4640,"answer":4641},"\u003Cp>Are there certain tools or materials you feel emotionally attached to? Ones that have a kind of personal history with you?\u003C\u002Fp>\n","\u003Cp>I mean, I have a pretty deep-rooted love and reverence for trees – they are vitally important and look very lovely. Not a big fan of cutting too many of them down though (hence the patchwork offcut process). I’d say timber is probably the material I’ve been working with the longest, if you count all of the childhood years making treehouses and camping in the woods.\u003C\u002Fp>\n",{"images":4643,"size":56,"_type":57},[4644],{"_id":279,"url":4645,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10-4.jpg",{"questions":4647,"_type":45},[4648],{"question":4649,"answer":4650},"\u003Cp>Do you see your objects as functional furniture first, or as sculptural works that happen to be usable?\u003C\u002Fp>\n","\u003Cp>I’ve been thinking about this a lot recently, trying to work out where I sit between furniture and sculpture. I think that I will most likely go in phases of bouncing between the two, because I like playing in the overlap. I recognise there is a need for functional furniture that looks lovely, but on the flipside, I look at sculptural furniture as a means to exploring new or alternative functions that are very different. My piece “Growing up, I Never Wanted to be an Office Chair” very much sits in this space, I think – I call it a chair, and you can sit in it, but its nothing like a “typical” chair experience.\u003C\u002Fp>\n\u003Cp>One thing I can’t get on board with, and think is quite lazy, are sculptural chairs that you can’t actually sit in – this really annoys me. By calling it a chair, I think you enter into an agreement that it has to be sittable.\u003C\u002Fp>\n",{"images":4652,"size":56,"_type":57},[4653],{"_id":719,"url":4654,"alt":18,"caption":18,"credit":18,"width":4370,"height":4559},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUntitled-2-3.jpg",{"questions":4656,"_type":45},[4657],{"question":4658,"answer":4659},"\u003Cp>What’s the weirdest or most unexpected source you’ve drawn inspiration from?\u003C\u002Fp>\n","\u003Cp>I’m not sure it’s weird, exactly, but an area of interest for me right now is learning about ancient civilisations in the UK, and pulling inspiration from archaeological discoveries from these times. I think it’s nuts that thousands of years ago, makers with minimal resources (in comparison to today) were able to make some truly incredible objects. Their resourcefulness and material knowledge was so robust and far-reaching, and that’s so inspiring to me.\u003C\u002Fp>\n",{"questions":4661,"_type":45},[4662],{"question":4663,"answer":4664},"\u003Cp>What’s the first thing you notice when you walk into someone else’s home or an unfamiliar space?\u003C\u002Fp>\n","\u003Cp>The first question I ask myself in any space is “where are the windows? What’s the light like?”. From here, my wife would be looking through and analysing their collection of books – and I would be waiting for her thoughts.\u003C\u002Fp>\n",{"images":4666,"size":56,"_type":57},[4667],{"_id":4668,"url":4669,"alt":18,"caption":18,"credit":18,"width":4515,"height":2019},1013,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-5.jpg",{"questions":4671,"_type":45},[4672],{"question":4673,"answer":4674},"\u003Cp>Is there an everyday object you’d love to redesign from scratch, just for the joy of it?\u003C\u002Fp>\n","\u003Cp>The piece I would really like to put my own spin on is a clock – particularly those ones you find above fireplaces in grand old National Trust estate houses. I think that there is so much room for playing with material and aesthetics here – these clocks are so beautiful and ornate, to the point that their function to keep time is almost sidelined by their extravagance – to get that feeling for aesthetic with waste\u002Ffound materials would be pretty cool.\u003C\u002Fp>\n",{"images":4676,"size":56,"_type":57},[4677],{"_id":4678,"url":4679,"alt":18,"caption":18,"credit":18,"width":2299,"height":4480},1014,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F14.jpg",{"questions":4681,"_type":45},[4682],{"question":638,"answer":4683},"\u003Cp>My studio is in Walthamstow, London – and my door’s always open to anyone that wants to chat chairs. Otherwise, you can follow me and my work on Instagram at @thisisbyron – I’m always posting little snippets of my work, and sneak peeks of what I’m up to next.\u003C\u002Fp>\n",{"_type":6,"_id":4685,"slug":4686,"name":4687,"index":4688,"date":4689,"thumbnails":4690,"description":18,"footerImage":4698,"categories":4702,"sections":4704},502,"kameh","KAMEH",36,"2025-05-23",{"quote":4691,"main":4692,"secondary":4697,"reverse":24},"\u003Cp>“Anonymity is clarity. When the author disappears, the object speaks louder.”\u003C\u002Fp>\n",{"image":4693,"background":21,"fit":22},{"_id":4694,"url":4695,"alt":18,"caption":18,"credit":18,"width":3490,"height":4696},2818,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FGroup-2691.jpg",1206,{"image":24,"background":21,"fit":22},{"_id":4699,"url":4700,"alt":18,"caption":18,"credit":18,"width":4370,"height":4701},504,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FFooter.jpg",656,[4703],{"_id":33,"slug":34,"name":35},[4705,4709,4713,4719,4724,4729,4734,4739,4744,4749,4754,4758,4763,4768,4773,4779,4784,4789,4794,4799,4805],{"questions":4706,"_type":45},[4707],{"question":1766,"answer":4708},"\u003Cp>The name is KAMEH. We’re not interested in origins in the traditional sense — but geographically we exist in Dubai, UAE\u003C\u002Fp>\n",{"questions":4710,"_type":45},[4711],{"question":3060,"answer":4712},"\u003Cp>Material-led. Emotionally charged. Functionally untamed.\u003C\u002Fp>\n",{"images":4714,"size":84,"_type":57},[4715],{"_id":4716,"url":4717,"alt":18,"caption":18,"credit":18,"width":4718,"height":1753},1016,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-11.jpg",1355,{"questions":4720,"_type":45},[4721],{"question":4722,"answer":4723},"\u003Cp>KAMEH was born in 2022. What led to its creation? Was there a specific need, frustration, or idea you were responding to?\u003C\u002Fp>\n","\u003Cp>KAMEH was a response to a world oversaturated with noise, signatures, and sameness. It emerged from the need to strip back, to listen to material rather than ego. It wasn’t about starting a brand — it was about building a language, piece by piece, without the pressure to explain or sell a persona.\u003C\u002Fp>\n",{"images":4725,"size":84,"_type":57},[4726],{"_id":4727,"url":4728,"alt":18,"caption":18,"credit":18,"width":4718,"height":1753},1017,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-9.jpg",{"questions":4730,"_type":45},[4731],{"question":4732,"answer":4733},"\u003Cp>In a world obsessed with the “who” behind the work, you’ve chosen to focus on the “what” and the “why.” What possibilities open up when the designer remains anonymous?\u003C\u002Fp>\n","\u003Cp>Anonymity is clarity. When the author disappears, the object speaks louder. Viewers stop searching for biography and start sensing intention. It allows room for projection, for mystery, for emotional reading — things that don’t exist in algorithms.\u003C\u002Fp>\n",{"images":4735,"size":84,"_type":57},[4736],{"_id":4737,"url":4738,"alt":18,"caption":18,"credit":18,"width":4718,"height":1753},1018,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-9.jpg",{"questions":4740,"_type":45},[4741],{"question":4742,"answer":4743},"\u003Cp>Your pieces explore the intersection of function and art. How do you define usefulness in your work, and does a piece always need to “do” something?\u003C\u002Fp>\n","\u003Cp>Usefulness is not utility. A piece might not hold, pour, or support — but if it slows you down, makes you feel, shifts the weight of a room — that’s purpose. Presence can be function.\u003C\u002Fp>\n",{"images":4745,"size":84,"_type":57},[4746],{"_id":4747,"url":4748,"alt":18,"caption":18,"credit":18,"width":4718,"height":1753},1019,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-8.jpg",{"questions":4750,"_type":45},[4751],{"question":4752,"answer":4753},"\u003Cp>How do you choose materials for each piece? What is more important: origin, texture, reaction, or symbolism?\u003C\u002Fp>\n","\u003Cp>Material chooses us. Some pieces begin with a reaction — fire to grain, steel to silence. Others are led by a symbolic weight. What matters is that the material has something to say — texture, origin, and meaning are just different dialects of the same language.\u003C\u002Fp>\n",{"images":4755,"size":84,"_type":57},[4756],{"_id":989,"url":4757,"alt":18,"caption":18,"credit":18,"width":4718,"height":1753},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-9.jpg",{"questions":4759,"_type":45},[4760],{"question":4761,"answer":4762},"\u003Cp>KAMEH pieces are described as “wildly idiosyncratic.” Do you see them as having personalities of their own?\u003C\u002Fp>\n","\u003Cp>Yes — each one. They’re not products; they’re presences. Some feel grounded, others volatile. Some lean inward, others demand attention. They aren’t designed to match anything. They arrive fully themselves.\u003C\u002Fp>\n",{"images":4764,"size":84,"_type":57},[4765],{"_id":4766,"url":4767,"alt":18,"caption":18,"credit":18,"width":4718,"height":1753},1021,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-9.jpg",{"questions":4769,"_type":45},[4770],{"question":4771,"answer":4772},"\u003Cp>In a world of mass production, how do you protect the intimacy and individuality of each piece?\u003C\u002Fp>\n","\u003Cp>By refusing repetition. Each piece is handmade, untreated by industry. We work slowly. We embrace irregularity. We allow the process to scar, mark, or shift the final form. Imperfection is the only proof of presence.\u003C\u002Fp>\n",{"images":4774,"size":56,"_type":57},[4775],{"_id":4776,"url":4777,"alt":18,"caption":18,"credit":18,"width":503,"height":4778},1022,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FKameh_DesignMiami_NateleeCocks_007.jpg.webp",2400,{"questions":4780,"_type":45},[4781],{"question":4782,"answer":4783},"\u003Cp>This new collection is rooted in the John Muir quote, “Into the forest I go to lose my mind and find my soul.” What did that quote unlock for you, personally and creatively, when you began working on the 0.5 Editions?\u003C\u002Fp>\n","\u003Cp>It gave permission to wander. To get lost on purpose. The 0.5 Editions aren’t resolved — they’re meditations in process. Like walking into a forest, not knowing what you’ll return with. The pieces breathe. They rest. They hold space for silence.\u003C\u002Fp>\n",{"questions":4785,"_type":45},[4786],{"question":4787,"answer":4788},"\u003Cp>You chose Ashwood as the base and treated it using the traditional Japanese technique of Shou Sugi Ban. What drew you to this process, and how did it feel to work with fire as a creative tool?\u003C\u002Fp>\n","\u003Cp>Shou Sugi Ban is a ritual. Fire transforms the wood, seals it, hardens it, but it also blackens it, scars it. There’s reverence in that contradiction. Working with fire demands surrender. It’s not a brushstroke — it’s a burn. And the result is permanence through destruction.\u003C\u002Fp>\n",{"questions":4790,"_type":45},[4791],{"question":4792,"answer":4793},"\u003Cp>If this collection is a pause, a breath in the forest, what comes next? What kind of landscape are you drawn to now?\u003C\u002Fp>\n","\u003Cp>After the forest, maybe the threshold. Spaces in-between — shorelines, ruins, waiting rooms. We’re drawn to ambiguity, to landscapes that hold transition. Stillness before movement. Softness before collapse.\u003C\u002Fp>\n",{"questions":4795,"_type":45},[4796],{"question":4797,"answer":4798},"\u003Cp>What aren’t you trying to design?\u003C\u002Fp>\n","\u003Cp>We’re not trying to design perfection. Or trends. Or replicas. We’re not designing lifestyle. We’re building objects that resist easy categorization.\u003C\u002Fp>\n",{"images":4800,"size":84,"_type":57},[4801],{"_id":4802,"url":4803,"alt":18,"caption":18,"credit":18,"width":2167,"height":4804},1023,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FLIVING-ROOM_NateleeCocks_048.jpg",1279,{"questions":4806,"_type":45},[4807],{"question":638,"answer":4808},"\u003Cp>@kameh.objects and \u003Ca href=\"https:\u002F\u002Fwww.kameh.space\">www.kameh.space\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":4810,"slug":4811,"name":4812,"index":4813,"date":4814,"thumbnails":4815,"description":4823,"footerImage":4824,"categories":4827,"sections":4829},505,"sijin-jung","Sijin Jung",37,"2025-05-26",{"quote":4816,"main":4817,"secondary":4822,"reverse":24},"\u003Cp>“I explore the metaphorical nature of survival and fate through the melting quality of beeswax.”\u003C\u002Fp>\n",{"image":4818,"background":137,"fit":139},{"_id":4819,"url":4820,"alt":18,"caption":18,"credit":18,"width":1430,"height":4821},2809,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F37-head.jpg",1636,{"image":24,"background":21,"fit":22},"\u003Cp>Sijin Jung is a sculptor based in Korea and studied in Germany. Working primarily with beeswax, his practice explores the “inoperativity” of materials and the quiet tension between environmental conditions and the passage of time. His work reflects on how objects transition from functional tools to “living monuments” that honestly record the shifting horizons of human experience.\u003C\u002Fp>\n",{"_id":4825,"url":4826,"alt":18,"caption":18,"credit":18,"width":3299,"height":1184},507,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002Ffooter-1.jpg",[4828],{"_id":127,"slug":146,"name":147},[4830,4834,4838,4843,4848,4856,4861,4866,4871,4876,4882,4887,4896,4901,4906,4911,4916,4921,4929],{"questions":4831,"_type":45},[4832],{"question":1766,"answer":4833},"\u003Cp>Hello, my name is Sijin Jung. I was born in South Korea and am currently based in Seoul.\u003C\u002Fp>\n",{"questions":4835,"_type":45},[4836],{"question":3060,"answer":4837},"\u003Cp>I explore the metaphorical nature of survival and fate through the melting quality of beeswax. My work stems from the idea proposed by Watsuji Tetsurō, known as fūdo—the interconnected climate, geography, and cultural atmosphere that shape human existence. In the context of the climate crisis, we may respond in different ways, but we share a common perception and sensibility toward it. From this starting point, I summon objects to trace a shared subjectivity.\u003C\u002Fp>\n",{"images":4839,"size":84,"_type":57},[4840],{"_id":4841,"url":4842,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},907,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-1.jpg",{"questions":4844,"_type":45},[4845],{"question":4846,"answer":4847},"\u003Cp>What drew you to beeswax as a primary material, and what does it allow you to express that other materials don’t?\u003C\u002Fp>\n","\u003Cp>I chose beeswax because it embodies transformation influenced by climate conditions—conditions shaped by human choices. Beeswax is unique in that its qualities are directly determined by nature. Its color changes based on the types of nectar collected by bees in a given year, and over time, it undergoes a process called blooming, in which it whitens and hardens. This temporal and spatial sensitivity not only showcases the material’s beauty but also reflects Watsuji’s idea that human existence is always in dialogue with the natural fūdo—making beeswax a living testament to the influence of our environment.\u003C\u002Fp>\n",{"variant":1116,"images":4849,"_type":73},[4850,4853],{"_id":4851,"url":4852,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},908,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-1.jpg",{"_id":4854,"url":4855,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},909,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-1.jpg",{"questions":4857,"_type":45},[4858],{"question":4859,"answer":4860},"\u003Cp>Beeswax is naturally impermanent. How does its fragility inform your ideas around memory, loss, and time?\u003C\u002Fp>\n","\u003Cp>I aim to create symbols of disappearance. According to Watsuji’s theory, humans are not isolated individuals; rather, we exist in relation to time, place, and others. The fragility of beeswax mirrors our inescapable fate within this environmental and temporal in-betweenness. Confronting this impermanence helps us process loss, find comfort, and build resilience in the face of inevitable transience.\u003C\u002Fp>\n",{"images":4862,"size":84,"_type":57},[4863],{"_id":4864,"url":4865,"alt":18,"caption":18,"credit":18,"width":3555,"height":3577},910,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-1.jpg",{"questions":4867,"_type":45},[4868],{"question":4869,"answer":4870},"\u003Cp>Have you ever witnessed one of your sculptures melt or shift unexpectedly? If so, what did that moment feel like?\u003C\u002Fp>\n","\u003Cp>Yes, I once observed my work melting under sunlight. It was unsettling. However, the moment I realized that my work, too, could “die,” I began to reflect on its preciousness in a new light.\u003C\u002Fp>\n",{"questions":4872,"_type":45},[4873],{"question":4874,"answer":4875},"\u003Cp>What significance do spirit tablets and memorial tablets hold for you, personally or culturally?\u003C\u002Fp>\n","\u003Cp>In East Asian traditions, memorial tablets serve as spiritual vessels to honor the deceased. They help preserve history and maintain connections across generations—from ancestors to the present and into the future. Drawing from Watsuji’s view of humans as beings in relation, I see these rituals as akin to art: both rely on symbolic, almost magical devices to bridge time and space, evoking presence through absence.\u003C\u002Fp>\n",{"images":4877,"size":56,"_type":57},[4878],{"_id":4879,"url":4880,"alt":18,"caption":18,"credit":18,"width":4881,"height":3577},911,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-1.jpg",1076,{"questions":4883,"_type":45},[4884],{"question":4885,"answer":4886},"\u003Cp>What do potted plants represent in your practice?\u003C\u002Fp>\n","\u003Cp>In my practice, potted plants serve as reminders not to succumb to nihilism, even when faced with eventual dissolution. They may one day melt or wither, but for now, they maintain their form and purpose. That endurance is meaningful in itself. For me, it’s a way of mourning the future while still choosing to care for the present.\u003C\u002Fp>\n",{"variant":1179,"images":4888,"_type":73},[4889,4893],{"_id":4890,"url":4891,"alt":18,"caption":18,"credit":18,"width":4881,"height":4892},912,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F67.jpg",1345,{"_id":4894,"url":4895,"alt":18,"caption":18,"credit":18,"width":4881,"height":4892},913,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F68.jpg",{"questions":4897,"_type":45},[4898],{"question":4899,"answer":4900},"\u003Cp>You mention the climate crisis as a shared reality. How do you hope your work helps us process or respond to it?\u003C\u002Fp>\n","\u003Cp>The climate crisis is a universal threat that transcends belief, race, and values. Watsuji emphasized that our sense of self is shaped by the fūdo we inhabit, and I view climate change as a disruption of that environment. My work aims not to shock, but to gently guide people through cultural and emotional loss—offering a space for reflection and adaptation in the face of collective vulnerability.\u003C\u002Fp>\n",{"images":4902,"size":84,"_type":57},[4903],{"_id":4904,"url":4905,"alt":18,"caption":18,"credit":18,"width":4881,"height":3520},914,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F98.jpg",{"questions":4907,"_type":45},[4908],{"question":4909,"answer":4910},"\u003Cp>How do you find hope within the themes of loss and fragility that run through your work?\u003C\u002Fp>\n","\u003Cp>Rather than seeking hope directly, I aim to accept loss and fragility. When we acknowledge the possibility of losing someone or something, we become more capable of forgiveness. Perhaps it is in that acceptance that hope quietly emerges.\u003C\u002Fp>\n",{"questions":4912,"_type":45},[4913],{"question":4914,"answer":4915},"\u003Cp>What challenges have you faced trying to bring your digital sketches to life physically?\u003C\u002Fp>\n","\u003Cp>I always begin by shaping the sculpture physically before bringing it into digital space, as I don’t create digital forms without first making them by hand. For me, all existence starts within the natural environment, which I call “climate.” Reproducing this material reality digitally, especially with wax, is extremely difficult. Wax’s sensitivity to temperature and time gives it a texture and temporality that are hard. to translate virtually.\u003C\u002Fp>\n\u003Cp>My next goal is to explore how a form might dissolve within the “digital climate,” influenced by data decay, algorithms, and systemic shifts, demonstrating that even in virtual space, existence remains fragile.\u003C\u002Fp>\n",{"questions":4917,"_type":45},[4918],{"question":4919,"answer":4920},"\u003Cp>Which part of your practice feels most like a meditation, and which part feels most like a rebellion?\u003C\u002Fp>\n","\u003Cp>Digging out the soil space in my wax planters feels meditative. Although it’s a hidden part of the sculpture, creating a space for life—one scoop at a time—feels like a ritual of care. In contrast, I often experience a sense of resistance when building the mold frames that initiate the process. Constructing a new rule or boundary makes me rebel inwardly. Paradoxically, though, it also provides me with a sense of safety.\u003C\u002Fp>\n",{"variant":1116,"images":4922,"_type":73},[4923,4927],{"_id":4924,"url":4925,"alt":18,"caption":18,"credit":18,"width":4881,"height":4926},915,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F53.jpg",1257,{"_id":1431,"url":4928,"alt":18,"caption":18,"credit":18,"width":4881,"height":4926},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F54.jpg",{"questions":4930,"_type":45},[4931],{"question":638,"answer":4932},"\u003Cp>I participated in a group exhibition at Studiya Gallery(\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fstudiya.gallery\u002F?hl=en\">@studiya.gallery\u003C\u002Fa>) in Seoul this past March. If you want to check out my latest works, they’re on Instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fni_jis\u002F?hl=en&g=5\">@ni_jis\u003C\u002Fa>.\u003C\u002Fp>\n",{"_type":6,"_id":4934,"slug":4935,"name":4936,"index":4937,"date":4938,"thumbnails":4939,"description":4949,"footerImage":4950,"categories":4954,"sections":4958},510,"umum","UMUM",38,"2025-05-28",{"quote":4940,"main":4941,"secondary":4945,"reverse":24},"\u003Cp>“We found ourselves craving a more tangible connection to materials, people, and nature—rather than the virtual world we had been forced into.”\u003C\u002Fp>\n",{"image":4942,"background":21,"fit":139},{"_id":4943,"url":4944,"alt":18,"caption":18,"credit":18,"width":1813,"height":2747},2645,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FUmum-Main-4-edit-2.jpg",{"image":4946,"background":137,"fit":139},{"_id":4947,"url":4948,"alt":18,"caption":18,"credit":18,"width":3299,"height":334},513,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FMain-2.jpg","\u003Cp>UMUM is an independent curatorial studio exploring craft, regional art, and spatial design,  founded in London by curator Dan Huang and architectural designer Shutong Fan. By transforming overlooked dialogues and creative processes into tangible spatial narratives, UMUM connects makers and artists with their audiences, acting as the ‘architect’ of cultural contexts in new, unfamiliar environments.\u003C\u002Fp>\n",{"_id":4951,"url":4952,"alt":18,"caption":18,"credit":18,"width":3299,"height":4953},512,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FFooter-2.jpg",1193,[4955],{"_id":930,"slug":4956,"name":4957},"curation","Curation",[4959,4963,4967,4973,4978,4986,4991,4997,5002,5008,5013,5019,5024,5034,5039,5044,5049,5054,5059,5064,5073,5078,5083,5088],{"questions":4960,"_type":45},[4961],{"question":1766,"answer":4962},"\u003Cp>We are Shutong Fan and Dan Huang, the founders of UMUM. Originally from China, we are now based in Kensal Green, London. Our studio made its debut last year with a private showroom opening for close friends, invited guests, and collaborators, where we showcased the work and stories of 15 selected craft artists. In January, we officially opened to the public by appointment only, offering a more intimate, behind-the-scenes look at the stories behind each object we represent.\u003C\u002Fp>\n",{"questions":4964,"_type":45},[4965],{"question":3060,"answer":4966},"\u003Cp>umum is a studio for objects, craft, regional art & design and the stories behind them.\u003C\u002Fp>\n",{"images":4968,"size":84,"_type":57},[4969],{"_id":4970,"url":4971,"alt":18,"caption":18,"credit":18,"width":4972,"height":4926},918,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-2.jpg",1876,{"questions":4974,"_type":45},[4975],{"question":4976,"answer":4977},"\u003Cp>What inspired you to start? And what does UMUM mean?\u003C\u002Fp>\n","\u003Cp>Our backgrounds are in architecture (Shutong) and curating (Dan), and craft has always been a shared interest within our respective fields. In the winter of 2020, after a long lockdown in China, we found ourselves craving a more tangible connection to materials, people, and nature—rather than the virtual world we had been forced into. That led us to a three-month residency in a pottery studio in Fujiwan, a tea mountain village in Hangzhou. We didn’t go there to become craftspeople, but to better understand material through direct engagement. In that process, we encountered an extraordinary community of makers—ceramists, glassmakers, carpenters, silversmiths—and with every return, we meet more. The idea of creating something to support and share their work had been quietly growing in us for years. We were also deeply inspired by places like Kettle’s Yard and by the spirit of small, independent initiatives like Momosan Shop, whose closure was another turning point. It felt like the right moment to start something of our own. As for the name “umum”—it doesn’t carry a deep meaning. It’s actually an onomatopoeic sound, “ahm ahm,” that Dan used to make after a satisfying meal. The name came up casually during a daydreaming conversation between us years ago, when we first imagined opening a craft gallery together.\u003C\u002Fp>\n",{"variant":176,"images":4979,"_type":73},[4980,4983],{"_id":4981,"url":4982,"alt":18,"caption":18,"credit":18,"width":4972,"height":4926},919,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-1.jpg",{"_id":4984,"url":4985,"alt":18,"caption":18,"credit":18,"width":3679,"height":4926},920,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F22.jpg",{"questions":4987,"_type":45},[4988],{"question":4989,"answer":4990},"\u003Cp>“Umum” refers to a living dialogue, how do you define that dialogue, and who is part of it?\u003C\u002Fp>\n","\u003Cp>For us, dialogue means more than just spoken conversation. At UMUM, it happens through objects. Simply by looking, touching, using, or even playing with an object, a quiet exchange begins between the maker and the viewer—even if they’ve never met. Umum acts as a bridge: between makers and us, between us and audiences around the world, between objects and their users, between cultures, and between past and present. It’s a living, evolving conversation—unfolding across time, space, and material.\u003C\u002Fp>\n",{"images":4992,"size":84,"_type":57},[4993],{"_id":4994,"url":4995,"alt":18,"caption":18,"credit":18,"width":2500,"height":4996},921,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F23.jpg",1728,{"questions":4998,"_type":45},[4999],{"question":5000,"answer":5001},"\u003Cp>How do you see your role?\u003C\u002Fp>\n","\u003Cp>We see our role as multifaceted and always evolving. UMUM began with us as collectors—driven by curiosity and admiration for the makers and their work. Over time, we’ve grown into curators, collaborators, and translators: selecting, researching, archiving, and presenting objects in ways that invite deeper engagement.\u003C\u002Fp>\n\u003Cp>We see umum more than a platform for showcasing craft. It’s a living space, both physical and conceptual where objects can be seen, touched, and contemplated. We aim to give craft its own voice, not as something secondary, but as a form of cultural expression that stands on equal ground with art and design. In that sense, umum becomes a bridge between disciplines, cultures, and people.\u003C\u002Fp>\n\u003Cp>It’s also a space for experimentation, a place where ideas can be cooked and tested, where philosophies of making and living emerge through the material. We hope people feel they can pause here, stay a while, and enter into quiet dialogue with the objects and the stories they carry.\u003C\u002Fp>\n",{"images":5003,"size":139,"_type":57},[5004],{"_id":5005,"url":5006,"alt":18,"caption":18,"credit":18,"width":5007,"height":352},922,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FBIG.jpg",2027,{"questions":5009,"_type":45},[5010],{"question":5011,"answer":5012},"\u003Cp>How do you build a relationship with the artisans you collaborate with? What\u003Cbr \u002F>\ndoes a typical craft-hunting trip look like?\u003C\u002Fp>\n","\u003Cp>Meeting craftspeople isn’t so different from meeting anyone else—it starts with a conversation. We visit them in person, spend time together, and gradually build trust. Before anything else, we make the effort to understand who they are, how they live, and the environment that shapes their work. It’s important to see the world their objects come from—the spaces, rhythms, and stories behind the making. In the beginning, we were students ourselves. We both studied under Sun Yue, an artist known for her clay coiling sculptures. The village where she lives feels almost utopian—close-knit and full of creative energy. Nestled in the tea mountains where Long Jing tea is grown, and not far from the Chinese Academy of Art, the area has drawn many artists to settle there. One relationship naturally leads to another. At first, our visits were casual. We’d hang around studios, help with loading and unloading kilns, share meals, go to karaoke. One time, we even went night fishing in a pond with the silversmith Li Qun. It was all very organic. Many craftspeople in China live simple, grounded lives and value intentionality in both their work and their way of being. Living alongside them even briefly, helps us build real, lasting relationships. When they heard we were starting umum in the UK, some makers dropped everything to take us to nearby villages and introduce us to other hidden artisans. Once you earn the trust of one, their recommendations open new\u003C\u002Fp>\n\u003Cp>doors and are almost never wrong. Meeting new makers is like making new friends: we chat, laugh, play, hang out, eat amazing food, maybe talk about business for five minutes. It’s that simple, and that human.\u003C\u002Fp>\n",{"images":5014,"size":139,"_type":57},[5015],{"_id":5016,"url":5017,"alt":18,"caption":18,"credit":18,"width":5018,"height":352},923,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FBIGG.jpg",1711,{"questions":5020,"_type":45},[5021],{"question":5022,"answer":5023},"\u003Cp>How do you find your artisans? Or do they find you?\u003C\u002Fp>\n","\u003Cp>Most of the artisans we work with come through personal recommendations from other makers. Occasionally, we discover new talent through social media, and when that happens, we reach out to arrange a studio visit in person.\u003C\u002Fp>\n\u003Cp>Lately, we’ve been honored to have more makers approach us directly through social media as well. But no matter how the connection starts, we always follow the same principle: we visit each artisan in their own\u003Cbr \u002F>\nspace before starting any collaboration. It’s part of umum’s slow-working philosophy, building real relationships takes time, presence, and shared experience.\u003C\u002Fp>\n",{"variant":176,"images":5025,"_type":73},[5026,5031],{"_id":5027,"url":5028,"alt":18,"caption":18,"credit":18,"width":5029,"height":5030},924,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F43.jpg",1577,2352,{"_id":5032,"url":5033,"alt":18,"caption":18,"credit":18,"width":5029,"height":5030},925,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F65.jpg",{"questions":5035,"_type":45},[5036],{"question":5037,"answer":5038},"\u003Cp>Do you think handmade objects still hold the power to slow people down, especially in fast-paced cities like London?\u003C\u002Fp>\n","\u003Cp>ST:\u003Cbr \u002F>\nI don’t think it’s always a direct cause-and-effect. Some handmade objects are rushed, while some machine-made items are so well-designed that they inspire slowness and care—like Yanagi’s kettle or Zhou Jiehao’s wood-turned pieces. A true sense of tranquility in an object is rare and difficult to achieve. It’s not just about how something is made, but the intention and presence it carries.\u003C\u002Fp>\n\u003Cp>DH:\u003Cbr \u002F>\nWhen I think back to how I first entered the world of craft, it wasn’t through grand ideas—it was through small, quiet moments. I remember spending time in a local craft shop, and each time the owner brewed tea and served it with care, I felt a deep respect for life, for the objects in use, and for the makers behind them. I was amazed, not just by the beauty of the teaware, but by how long I found myself simply looking at it, being present with it. I hadn’t stared at an object like that in ages, and I hadn’t tasted tea so calmly and fully. That experience slowed me down. I believe many of our visitors at umum feel the same. We often hear feedback that the space has a kind of magic to hold people stay longer than they expect. As I began collecting these objects myself, I also began treating them with more care. It felt like respecting the object, the maker, and life itself. Over time, I found myself naturally moving toward a more intentional way of living, just like the makers we work with.\u003C\u002Fp>\n",{"images":5040,"size":84,"_type":57},[5041],{"_id":5042,"url":5043,"alt":18,"caption":18,"credit":18,"width":5029,"height":5030},926,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F655.jpg",{"questions":5045,"_type":45},[5046],{"question":5047,"answer":5048},"\u003Cp>Your London space feels deeply considered, more like a sanctuary than a shop. How did you approach designing it, and what kind of experience did you want visitors to have?\u003C\u002Fp>\n","\u003Cp>Thank you for using the word sanctuary. Though in some ways, we’d say it’s more relaxed than that. It’s not a traditional shop; it’s our studio and home, and occasionally, a showroom that opens to the public by appointment. We wanted the space to carry the spirit of where umum began—in the tea mountains of Hangzhou. That’s why it’s filled with greenery, soft light, and quiet corners. The mews where we’re based has a garden and tall trees that reminded us of the countryside home of Li Qun, the metalsmith we\u003Cbr \u002F>\nstayed with every time we return. Our hope is that visitors feel an immediate sense of ease. Some of our guests are unsure how to describe the space at first—it’s more relaxed than a shop, less formal than a gallery, and more curated than a typical home. That in-between-ness is exactly what we want to convey.\u003C\u002Fp>\n",{"images":5050,"size":139,"_type":57},[5051],{"_id":5052,"url":5053,"alt":18,"caption":18,"credit":18,"width":1790,"height":4804},927,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F433-scaled.jpg",{"questions":5055,"_type":45},[5056],{"question":5057,"answer":5058},"\u003Cp>Do you remember a moment when a maker’s story completely changed how you saw the object they created?\u003C\u002Fp>\n","\u003Cp>Not in the sense of one dramatic story altering our perception—but we’ve found that the more we get to know a maker personally, the more deeply we connect with their work. It’s often not about a single revelation, but about the quiet accumulation of details: their interests, their ways of working, their personality. Over time, certain objects start to feel like an extension of the maker themselves—so much so that when we live with these pieces, it feels as if a part of them is with us. In that sense, the objects become a kind of quiet companionship.\u003C\u002Fp>\n",{"questions":5060,"_type":45},[5061],{"question":5062,"answer":5063},"\u003Cp>Is there a piece you encountered that completely shifted how you think about craft, place, or tradition?\u003C\u002Fp>\n","\u003Cp>ST: Yes—Typei Hang’s lighting work had a big impact on me. I’m 27, which is relatively young in the Chinese craft scene. Most collectors and curators are from older generations, and many makers are still influenced by traditional aesthetics and processes. While I respect that lineage, I’ve always been more drawn to experimental, open-minded approaches to craft—which are still quite rare.\u003C\u002Fp>\n\u003Cp>What struck me about Typei was that he began with a concept: the feeling of floating, of lightness and movement. From there, he taught himself how to work with titanium, an incredibly difficult material. He’s unusually patient—more so than many contemporary artists—and also more conceptual than most craftspeople. His work showed me that craft doesn’t have to be bound by tradition; it can be technically rigorous and deeply imaginative at the same time.\u003C\u002Fp>\n\u003Cp>DH: For me, it was meeting Zhu Xinkui, a ceramic artist or personally I think he’s more of a sculptor , whose approach felt completely different from anyone else we’ve encountered. He treats clay the way a child plays with playdough—joyfully, instinctively. What amazed me was that, out of all the studios we’ve visited—over 40 by now—he’s the only maker who doesn’t collect other people’s work. His studio is filled only with pieces from different stages of his own practice, which really speaks to how self-sustained and organic his creativity is.\u003C\u002Fp>\n\u003Cp>Each of his pieces feels alive, like they carry their own personalities. He also challenges how people perceive the function of everyday objects. His work reminded me that craft can be deeply internal, even playful, and doesn’t always need to be justified by tradition or technique.\u003C\u002Fp>\n",{"variant":1116,"images":5065,"_type":73},[5066,5070],{"_id":5067,"url":5068,"alt":18,"caption":18,"credit":18,"width":5069,"height":1790},930,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F909-scaled.jpg",1620,{"_id":5071,"url":5072,"alt":18,"caption":18,"credit":18,"width":3299,"height":3299},931,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FMain-4.jpg",{"questions":5074,"_type":45},[5075],{"question":5076,"answer":5077},"\u003Cp>What do you hope people carry with them after encountering the work showcased at UMUM?\u003C\u002Fp>\n","\u003Cp>ST: I’m not sure, honestly. I’m curious to see what people take away from our collection or our design.\u003Cbr \u002F>\nDH: We want umum to feel like a space people can return to, whether for a quiet moment, a cup of tea, or just to catch up. More than anything, we hope people feel a sense of community and belonging.\u003C\u002Fp>\n",{"images":5079,"size":139,"_type":57},[5080],{"_id":5081,"url":5082,"alt":18,"caption":18,"credit":18,"width":1790,"height":2915},929,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F99-scaled.jpg",{"questions":5084,"_type":45},[5085],{"question":5086,"answer":5087},"\u003Cp>If you were to venture into something other than objects, what would it be?\u003C\u002Fp>\n","\u003Cp>We’ve already started expanding into events—designing experiences that let people engage more deeply with the objects and the stories behind them. So far, we’ve hosted a painting workshop with artist Chen Guanyi, and a photobook-themed reading room where each participant brought a book to share and reflect on (we ended up receiving over 30 books from just eight guests!). At the moment, we’re working on a new themed exhibition exploring the idea of “useless objects,” alongside planning a tea ceremony tasting and a food-centered gathering. These events allow us to bring people together through shared curiosity, conversation, and sensory experience. Beyond that, we’ve started taking on commissions for craft-centered curation, as well as spatial and product design for restaurants and bars. There’s a lot in the works—and we’re excited to keep exploring new formats. Stay tuned!\u003C\u002Fp>\n",{"questions":5089,"_type":45},[5090],{"question":638,"answer":5091},"\u003Cp>Our studio is based in Kensal Green, London, and visits are available by appointment—you can book via the link in our Instagram bio or through our website.\u003Cbr \u002F>\nOur next pop-up exhibition will be part of The Slow Dance, taking place 23–25 May 2025 at:\u003Cbr \u002F>\n20c, Gransden Works\u003Cbr \u002F>\n39–45 Gransden Avenue\u003Cbr \u002F>\nHackney, London, E8 3QA\u003Cbr \u002F>\nWe’ll also be hosting a summer pop-up in Hangzhou, China, at Arisu Ange Gallery, from 27–29 June 2025.\u003C\u002Fp>\n\u003Cp>Follow us and stay updated here:\u003Cbr \u002F>\nInstagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fumum_objects\u002F?hl=en\">@umum_objects\u003C\u002Fa>\u003Cbr \u002F>\nWebsite: \u003Ca href=\"https:\u002F\u002Fwww.umumobjects.com\">www.umumobjects.com\u003C\u002Fa>\u003Cbr \u002F>\nEmail: info@umumobjects.com\u003C\u002Fp>\n",{"_type":6,"_id":5093,"slug":5094,"name":5095,"index":5096,"date":5097,"thumbnails":5098,"description":18,"footerImage":5106,"categories":5110,"sections":5112},515,"badih-ghanem","Badih Ghanem",39,"2025-05-30",{"quote":5099,"main":5100,"secondary":5105,"reverse":24},"\u003Cp>“I wanted the space to follow my own ideas and take risks. I love taking risks.”\u003C\u002Fp>\n",{"image":5101,"background":21,"fit":139},{"_id":5102,"url":5103,"alt":18,"caption":18,"credit":18,"width":1263,"height":5104},516,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FMain-1-1.jpg",1209,{"image":24,"background":21,"fit":22},{"_id":5107,"url":5108,"alt":18,"caption":18,"credit":18,"width":3286,"height":5109},517,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FFooter-.jpg",1115,[5111],{"_id":33,"slug":34,"name":35},[5113,5118,5122,5128,5133,5138,5143,5148,5153,5158,5163,5168,5175,5180,5185,5190,5195,5200,5205,5210,5215],{"questions":5114,"_type":45},[5115],{"question":5116,"answer":5117},"\u003Cp>What’s your name and where are you from and based?\u003C\u002Fp>\n","\u003Cp>My name is Badih Ghanem, I am Lebanese-french and I am based in Paris.\u003C\u002Fp>\n",{"questions":5119,"_type":45},[5120],{"question":1904,"answer":5121},"\u003Cp>I’m an architect and urban planner. I have my practice in Paris since 2017, working across different scales, from interior design to housing, offices, and urban projects. My work is defined by a minimal approach that emphasizes monomaterials and draws inspiration from everyday objects. I recently launched my first design collection.\u003C\u002Fp>\n",{"images":5123,"size":84,"_type":57},[5124],{"_id":5125,"url":5126,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},1025,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-12.jpg",1467,{"questions":5129,"_type":45},[5130],{"question":5131,"answer":5132},"\u003Cp>What first drew you to architecture? And what has kept you in it?\u003C\u002Fp>\n","\u003Cp>I’ve always been really sensitive to the spaces around me, even from a young age, I noticed how a room, a building, or even a street could completely shift my mood or how I felt. That awareness made me curious about why that happened. Later, I came across Tadao Ando’s words: ‘I want to create a space that moves people.’ That really stuck with me, it put into words something I had always felt but didn’t know how to express.\u003Cbr \u002F>\nI think what’s kept me in it is that mix of creativity and purpose.\u003C\u002Fp>\n",{"questions":5134,"_type":45},[5135],{"question":5136,"answer":5137},"\u003Cp>You’ve lived and worked in both Beirut and Paris. How have these two cities shaped your practice differently?\u003C\u002Fp>\n","\u003Cp>Beirut and Paris have shaped me in very different ways. Beirut gave me rawness, a sense of emotion, and a more instinctive way of working. It’s a city full of energy and contradictions, and that intensity pushes you to create with feeling. Paris, on the other hand, brought structure and calm. It gave me space to slow down. I think my work sits somewhere in between, intuitive but grounded.\u003C\u002Fp>\n",{"questions":5139,"_type":45},[5140],{"question":5141,"answer":5142},"\u003Cp>What made you feel ready to start your own practice?\u003C\u002Fp>\n","\u003Cp>I didn’t feel totally ready, but I knew I had to do it. I wanted the space to follow my own ideas and take risks. I love taking risks. It felt like the right move, even if it was a bit of a leap.\u003C\u002Fp>\n",{"images":5144,"size":56,"_type":57},[5145],{"_id":5146,"url":5147,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},1026,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-10.jpg",{"questions":5149,"_type":45},[5150],{"question":5151,"answer":5152},"\u003Cp>You work with monomaterials and clean geometries. What draws you to the minimal? And can you explain your material choice?\u003C\u002Fp>\n","\u003Cp>I think my love for minimalism started as a reaction to growing up in a very chaotic city — and in homes that were completely overdecorated. You know those memes where someone says ‘this is why I love minimalism’ and then it cuts to a living room with 12 patterns, gold trim, and a chandelier in every corner? That was basically my childhood.”\u003Cbr \u002F>\nNow, I find calm in simplicity — clean lines, space to breathe. When it comes to materials, it really depends on the project and it context but I usually go for natural ones.\u003C\u002Fp>\n",{"images":5154,"size":84,"_type":57},[5155],{"_id":5156,"url":5157,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},1031,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-8.jpg",{"questions":5159,"_type":45},[5160],{"question":5161,"answer":5162},"\u003Cp>The title Remember Love?  feels like a question and a memory. What does “remembering love” mean to you in this context?\u003C\u002Fp>\n","\u003Cp>‘Remember Love?’ is both a question and a memory. The collection draws from objects tied to key moments in Beirut, events that shaped my childhood and adulthood. There’s a bittersweet nostalgia in them, a quiet sadness.\u003Cbr \u002F>\nThe title came from a bar in Beirut that felt like a safe place. It’s closed now, but the phrase stayed with me. In a time when the world feels heavy, I wanted to ask something simple but essential – do we still remember love, not just as a personal memory, but as a collective one too.\u003C\u002Fp>\n",{"questions":5164,"_type":45},[5165],{"question":5166,"answer":5167},"\u003Cp>The plastic chair is such a universal symbol in Lebanon, why did you choose it as a form to reimagine?\u003C\u002Fp>\n","\u003Cp>The plastic chair is simple, worn, often overlooked, but always there. You see it in gardens, on balconies, by the sea, stacked in village homes. It’s part of everyday life, always ready to make space for one more.\u003C\u002Fp>\n\u003Cp>It’s a quiet symbol of gathering and belonging. Reimagining it with a reflective surface shifts the perspective. Now it doesn’t just hold you — it reflects you. It becomes a way to see yourself in something familiar.\u003C\u002Fp>\n",{"variant":1116,"images":5169,"_type":73},[5170,5173],{"_id":5171,"url":5172,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},1028,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-9.jpg",{"_id":840,"url":5174,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-10.jpg",{"questions":5176,"_type":45},[5177],{"question":5178,"answer":5179},"\u003Cp>You write that this piece “relies on you to complete its meaning.” Do you consider your audience part of the work?\u003C\u002Fp>\n","\u003Cp>Yes, absolutely — especially with the plastic chair. It’s such a universal object. It’s everywhere. No matter where you’re from, chances are you’ve seen it, used it, or sat on one at some point. Everyone brings their own memory to it — a family lunch, a beach day, a quiet moment outside. That personal layer is what completes the piece.\u003C\u002Fp>\n",{"images":5181,"size":56,"_type":57},[5182],{"_id":5183,"url":5184,"alt":18,"caption":18,"credit":18,"width":4323,"height":1077},1033,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-8.jpg",{"questions":5186,"_type":45},[5187],{"question":5188,"answer":5189},"\u003Cp>You describe the exposed brick as ‘a tribute to what holds us together.’ What inspired you to elevate something humble into a symbol of connection?\u003C\u002Fp>\n","\u003Cp>Brick is part of the foundation of almost every building, but it’s usually hidden, never really acknowledged. I wanted to bring it forward — to show something simple and structural as a symbol of connection. Especially in a place where we’re constantly rebuilding, again and again, it felt like a quiet tribute to what holds us up, and holds us together.\u003C\u002Fp>\n",{"images":5191,"size":84,"_type":57},[5192],{"_id":5193,"url":5194,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},1032,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-11.jpg",{"questions":5196,"_type":45},[5197],{"question":5198,"answer":5199},"\u003Cp>How do you want people to feel when they see these objects? comforted, exposed, seen?\u003C\u002Fp>\n","\u003Cp>A bit of all three. I hope people feel a sense of comfort at first, like the objects are familiar. But then maybe a bit exposed too, even confronted. Like they’re seeing something they know, but in a way that makes them reflect on their own experiences. And in that process, hopefully they feel seen, like their own memories or emotions are part of the work too.\u003C\u002Fp>\n",{"questions":5201,"_type":45},[5202],{"question":5203,"answer":5204},"\u003Cp>Is there a building that you wish more people paid attention to?\u003C\u002Fp>\n","\u003Cp>I’ve always admired quiet buildings, the ones that don’t demand attention, but stay with you. Again, Tadao Ando’s work does that beautifully. It’s restrained, but deeply emotional, architecture you can feel.\u003C\u002Fp>\n",{"images":5206,"size":84,"_type":57},[5207],{"_id":5208,"url":5209,"alt":18,"caption":18,"credit":18,"width":4323,"height":5127},1030,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-10.jpg",{"questions":5211,"_type":45},[5212],{"question":5213,"answer":5214},"\u003Cp>Is there a specific object, material or concept you’ve always wanted to work with but haven’t yet?\u003C\u002Fp>\n","\u003Cp>Any natural material can interest me, it just depends on the context and the story it needs to tell.\u003C\u002Fp>\n",{"questions":5216,"_type":45},[5217],{"question":638,"answer":5218},"\u003Cp>I’m based in Paris, where I have my practice, and I’ll be part of one or two upcoming exhibitions there soon. You can find me on Instagram @badih_ghanem, and my website — www.badihghanem.com — is coming soon.\u003C\u002Fp>\n",{"_type":6,"_id":5220,"slug":5221,"name":5222,"index":5223,"date":5224,"thumbnails":5225,"description":5233,"footerImage":5234,"categories":5237,"sections":5239},519,"nana-zaalishvili","Nana Zaalishvili",40,"2025-06-03",{"quote":5226,"main":5227,"secondary":5232,"reverse":24},"\u003Cp>“Reclaimed wood speaks of time; clay holds the earth’s scent; and stone has permanence.”\u003C\u002Fp>\n",{"image":5228,"background":137,"fit":139},{"_id":5229,"url":5230,"alt":18,"caption":18,"credit":18,"width":1459,"height":5231},2812,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F40-head.jpg",2466,{"image":24,"background":21,"fit":22},"\u003Cp>Idaaf Architects is a multidisciplinary studio based in Tbilisi, founded in 2016 by architect Nana Zaalishvili. The studio works across Architecture, Interior Design and Collectible Furniture with a strong focus on craftsmanship and cultural storytelling. Drawing from Georgia’s vernacular architecture and rural heritage, the designs reinterpret traditional forms through a contemporary, sculptural approach.\u003C\u002Fp>\n",{"_id":5235,"url":5236,"alt":18,"caption":18,"credit":18,"width":2833,"height":2814},521,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FNana-Zaalishvili_.webp",[5238],{"_id":33,"slug":34,"name":35},[5240,5244,5248,5257,5262,5269,5274,5283,5288,5296,5301,5306,5311,5320,5325,5330,5334,5339,5344,5350,5355,5360,5365],{"questions":5241,"_type":45},[5242],{"question":1766,"answer":5243},"\u003Cp>My name is Nana Zaalishvili, and I’m born and  based in Tbilisi, Georgia.\u003C\u002Fp>\n",{"questions":5245,"_type":45},[5246],{"question":3060,"answer":5247},"\u003Cp>Architecture, Interiors and Sculptural furniture  rooted in Georgian heritage, crafted through contemporary forms.\u003C\u002Fp>\n",{"variant":1116,"images":5249,"_type":73},[5250,5254],{"_id":5251,"url":5252,"alt":18,"caption":18,"credit":18,"width":4323,"height":5253},1035,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-13.jpg",1534,{"_id":5255,"url":5256,"alt":18,"caption":18,"credit":18,"width":4323,"height":5253},1036,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-11.jpg",{"questions":5258,"_type":45},[5259],{"question":5260,"answer":5261},"\u003Cp>Can you tell us a bit about Idaaf Architects and what led you to start your own practice?\u003C\u002Fp>\n","\u003Cp>Idaaf  Architects is a Tbilisi-based studio working across Architecture, Interior Design and Collectible Furniture.  Founded by Nana Zaalishvili in 2016, the studio’s furniture blends modern design with Georgian  vernacular architecture, local materials and traditional craftsmanship.\u003C\u002Fp>\n\u003Cp>Each piece is handcrafted from locally sourced materials and shaped through a thoughtful, hands-on  process. Rooted in research and material exploration, Idaaf’s work explires the hidden beauty and cultural  history of Georgia – connecting past and present, material and memory, tradition and innovation.\u003C\u002Fp>\n",{"images":5263,"size":139,"_type":57},[5264],{"_id":5265,"url":5266,"alt":18,"caption":18,"credit":18,"width":5267,"height":5268},1037,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-12.jpg",1509,1048,{"questions":5270,"_type":45},[5271],{"question":5272,"answer":5273},"\u003Cp>What draws you to working with Georgian materials like reclaimed wood, stone, and clay?\u003C\u002Fp>\n","\u003Cp>These  materials carry stories. Reclaimed wood speaks of time; clay holds the earth’s scent; and stone has  permanence. Working with them is a way of preserving Georgian identity through form.\u003C\u002Fp>\n",{"variant":1179,"images":5275,"_type":73},[5276,5279],{"_id":5277,"url":5278,"alt":18,"caption":18,"credit":18,"width":3689,"height":5268},1038,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-10.jpg",{"_id":5280,"url":5281,"alt":18,"caption":18,"credit":18,"width":5282,"height":5268},1039,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-11.jpg",1415,{"questions":5284,"_type":45},[5285],{"question":5286,"answer":5287},"\u003Cp>You speak about connecting past and present—how do memories of rural life in Kakheti show up in  your pieces?\u003C\u002Fp>\n","\u003Cp>The rhythms of slow rural life—square stone houses, wooden balconies, brick churches with bell towers—are embedded in my designs. These memories become abstractions: in curves, joints,  surfaces. They are echoes I try to translated in my projects.\u003C\u002Fp>\n",{"variant":176,"images":5289,"_type":73},[5290,5293],{"_id":5291,"url":5292,"alt":18,"caption":18,"credit":18,"width":2557,"height":5268},1040,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-11.jpg",{"_id":5294,"url":5295,"alt":18,"caption":18,"credit":18,"width":2557,"height":5268},1041,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-9.jpg",{"questions":5297,"_type":45},[5298],{"question":5299,"answer":5300},"\u003Cp>What role do artisans play in your process, and what does collaboration look like?\u003C\u002Fp>\n","\u003Cp>Artisans are  essential. They bring knowledge passed through generations. Collaboration often begins with  listening—understanding how hands have shaped materials before—and builds toward a shared creation,  not just execution.\u003C\u002Fp>\n",{"images":5302,"size":84,"_type":57},[5303],{"_id":5304,"url":5305,"alt":18,"caption":18,"credit":18,"width":2557,"height":2557},1042,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-9.jpg",{"questions":5307,"_type":45},[5308],{"question":5309,"answer":5310},"\u003Cp>Is there a particular object or piece that felt especially meaningful to create?\u003C\u002Fp>\n","\u003Cp>The modular adobe bricks IAS & IAM we developed are deeply meaningful. They combine innovation with ancient building  techniques, and turn Georgian earth into tomorrow’s architecture.\u003C\u002Fp>\n",{"variant":1116,"images":5312,"_type":73},[5313,5316],{"_id":5314,"url":5315,"alt":18,"caption":18,"credit":18,"width":893,"height":2915},1044,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-6.jpg",{"_id":5317,"url":5318,"alt":18,"caption":18,"credit":18,"width":5319,"height":293},1045,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10-5.jpg",472,{"questions":5321,"_type":45},[5322],{"question":5323,"answer":5324},"\u003Cp>Is there a material or technique you’re curious to experiment with next?\u003C\u002Fp>\n","\u003Cp>I’m currently drawn to Wild clay and glazes and we’re experiment with that a lot. I’m also exploring the idea of incorporating  light as a sculptural material—how it interacts with surfaces and volume.\u003C\u002Fp>\n",{"questions":5326,"_type":45},[5327],{"question":5328,"answer":5329},"\u003Cp>What’s one detail from Kakhetian architecture that has never left your imagination?\u003C\u002Fp>\n","\u003Cp>The Kakhetian  stone house and its wooden balconies. I’m fascinated by how the architecture organizes space through  the idea of outside, inside, and something in between—these in-between spaces are the balcony  corridors. They’re transitional, social, and atmospheric; a threshold where life happens quietly but  meaningfully.\u003C\u002Fp>\n",{"images":5331,"size":56,"_type":57},[5332],{"_id":2147,"url":5333,"alt":18,"caption":18,"credit":18,"width":2557,"height":293},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-7.jpg",{"questions":5335,"_type":45},[5336],{"question":5337,"answer":5338},"\u003Cp>What do you hope someone feels when they touch one of your pieces?\u003C\u002Fp>\n","\u003Cp>A sense of grounding. A  quiet recognition that they are touching something honest, something that belongs to both now and before.\u003C\u002Fp>\n",{"questions":5340,"_type":45},[5341],{"question":5342,"answer":5343},"\u003Cp>What’s something outside of design that influences you?\u003C\u002Fp>\n","\u003Cp>Georgian wine and natural wine in general. It’s a ritual, a reflection of land and time. The way it’s made,  especially in qvevri (clay amphora) buried in the earth, speaks to slowness, patience and deep respect for  nature. That rhythm and philosophy often influence how I approach making.\u003C\u002Fp>\n",{"images":5345,"size":84,"_type":57},[5346],{"_id":5347,"url":5348,"alt":18,"caption":18,"credit":18,"width":1573,"height":5349},1046,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F12-3.jpg",1594,{"questions":5351,"_type":45},[5352],{"question":5353,"answer":5354},"\u003Cp>How do you imagine the future of Georgian design?\u003C\u002Fp>\n","\u003Cp>Rooted in tradition but not nostalgic. I see a  future where we reimagine our vernacular—adapting ancient wisdom to build sustainably, poetically and  with cultural depth.\u003C\u002Fp>\n",{"questions":5356,"_type":45},[5357],{"question":5358,"answer":5359},"\u003Cp>What’s one project (real or imaginary) that you dream of one day creating?\u003C\u002Fp>\n","\u003Cp>It might sound  unexpected, but a stadium. A civic space—where collective energy and identity come together.\u003C\u002Fp>\n",{"images":5361,"size":84,"_type":57},[5362],{"_id":5363,"url":5364,"alt":18,"caption":18,"credit":18,"width":1459,"height":5231},2814,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FGroup-268.jpg",{"questions":5366,"_type":45},[5367],{"question":638,"answer":5368},"\u003Cp>You can find me on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fidaafarchitects\u002F?hl=en\">@idaafarchitects\u003C\u002Fa>, \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fnanoouuk\u002F?hl=en\">@nanoouuk\u003C\u002Fa> on our  website \u003Ca href=\"https:\u002F\u002Fidaafarchitects.com\">idaafarchitects.com\u003C\u002Fa>, and at exhibitions—most recently, at the Venice Architecture Biennale.\u003C\u002Fp>\n",{"_type":6,"_id":5370,"slug":5371,"name":5372,"index":5373,"date":5374,"thumbnails":5375,"description":18,"footerImage":5382,"categories":5384,"sections":5386},525,"tugce-sonmez-arel","Tugce Sonmez Arel",41,"2025-06-05",{"quote":5376,"main":5377,"secondary":5381,"reverse":24},"\u003Cp>“My work delves into existential questions like the subconscious, while weaving in threads of cultural identity, memory, and broader concerns like climate and collective experience.”\u003C\u002Fp>\n",{"image":5378,"background":137,"fit":139},{"_id":5379,"url":5380,"alt":18,"caption":18,"credit":18,"width":3286,"height":5109},526,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FMain-1-2.jpg",{"image":24,"background":21,"fit":22},{"_id":2003,"url":5383,"alt":18,"caption":18,"credit":18,"width":3286,"height":5109},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002FFooter-3.jpg",[5385],{"_id":127,"slug":146,"name":147},[5387,5391,5395,5400,5405,5409,5414,5421,5426,5431,5436,5445,5450,5460,5465,5473,5478,5483,5488,5493,5498,5505],{"questions":5388,"_type":45},[5389],{"question":1766,"answer":5390},"\u003Cp>My full name is Tugce Sonmez Arel, though for the last 35 years, everyone has called me Tutu. I’m Turkish, currently based in London.\u003C\u002Fp>\n",{"questions":5392,"_type":45},[5393],{"question":3060,"answer":5394},"\u003Cp>Intuitive, abstract, mostly sculptural—but  multi-disciplinary. My work delves into existential questions like the subconscious, while weaving in threads of cultural identity, memory, and broader concerns like climate and collective experience.\u003C\u002Fp>\n",{"images":5396,"size":84,"_type":57},[5397],{"_id":2204,"url":5398,"alt":18,"caption":18,"credit":18,"width":5399,"height":352},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F1-14.jpg",1710,{"questions":5401,"_type":45},[5402],{"question":5403,"answer":5404},"\u003Cp>Where did your relationship with clay, photography, and found objects begin—and how did those mediums find each other in your practice?\u003C\u002Fp>\n","\u003Cp>Photography came through my father’s side of the family. As early as five years old, my sister and I would create little stage sets and shoot theme-based sequences. Later on, through experiments with film photography at university, it naturally became part of my creative process.\u003Cbr \u002F>\nClay came into my life in 2002, when I started learning at an artist’s studio. I was going through my first heartbreak, and making—this new relationship with material—healed me. I continued there until the end of high school before leaving to study abroad. In university, I circled back to sculpture, and when I moved to London in 2018, it began to take up central space in my practice.\u003Cbr \u002F>\nFound objects entered from a completely different door. I’ve always been drawn to what others discard and find myself quite odd about it. Only later did I realize this impulse was not separate from my practice—it was a part of it.\u003C\u002Fp>\n",{"images":5406,"size":84,"_type":57},[5407],{"_id":156,"url":5408,"alt":18,"caption":18,"credit":18,"width":2224,"height":352},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F2-12.jpg",{"questions":5410,"_type":45},[5411],{"question":5412,"answer":5413},"\u003Cp>How do creating objects help you access or express memory?\u003C\u002Fp>\n","\u003Cp>In the most direct and honest way. My Alpha and Beta series especially work around this idea of expressing stuck emotions sourced from memory—a kind of release through form. Right now, I’m working on a new body of work that taps into my early memories—those formative moments in the ’90s that shaped my understanding of aesthetics, value, and belonging.\u003C\u002Fp>\n",{"variant":1179,"images":5415,"_type":73},[5416,5418],{"_id":1200,"url":5417,"alt":18,"caption":18,"credit":18,"width":3169,"height":352},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F3-13.jpg",{"_id":5419,"url":5420,"alt":18,"caption":18,"credit":18,"width":3169,"height":352},1052,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F4-11.jpg",{"questions":5422,"_type":45},[5423],{"question":5424,"answer":5425},"\u003Cp>Are there specific rituals, stories, or images from your upbringing that continue to inform your work?\u003C\u002Fp>\n","\u003Cp>Yes, many. One is me collecting sea glass—it’s become a quiet ritual, something between meditation and play. I love being by the sea but can’t lie still, so I walk along the shore, eyes scanning the shallow waters. If my eye catches a piece of colored glass, I reach down to collect it. If it comes with me, it’s mine; if not, it belongs to the sea. A silent agreement between me and nature. Some of these pieces have found their way into works like Alpha IV.\u003C\u002Fp>\n",{"images":5427,"size":84,"_type":57},[5428],{"_id":5429,"url":5430,"alt":18,"caption":18,"credit":18,"width":3169,"height":2149},1053,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F5-12.jpg",{"questions":5432,"_type":45},[5433],{"question":5434,"answer":5435},"\u003Cp>What recurring shapes or symbols appear in your work, and what might they mean to you?\u003C\u002Fp>\n","\u003Cp>This one is hard for me because my work is abstract—but if I had to name one, I’d say lines. Lines feel honest. They suggest paths, connections, separations—sometimes delicate, sometimes bold.\u003C\u002Fp>\n",{"variant":1116,"images":5437,"_type":73},[5438,5442],{"_id":5439,"url":5440,"alt":18,"caption":18,"credit":18,"width":3169,"height":5441},1054,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F6-12.jpg",1175,{"_id":5443,"url":5444,"alt":18,"caption":18,"credit":18,"width":3169,"height":5441},1055,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F7-10.jpg",{"questions":5446,"_type":45},[5447],{"question":5448,"answer":5449},"\u003Cp>Have you ever surprised yourself with what emerged in a finished piece?\u003C\u002Fp>\n","\u003Cp>Yes—almost always. My process is largely intuitive, so there are many moments when I step back from a finished piece and think, I didn’t know this was living inside me. The act of creating feels like entering a flow state, almost trance-like. When the work emerges, it often reveals something I wasn’t consciously aware of.\u003C\u002Fp>\n",{"variant":176,"images":5451,"_type":73},[5452,5455],{"_id":1634,"url":5453,"alt":18,"caption":18,"credit":18,"width":5454,"height":3421},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F10-6.jpg",1791,{"_id":5456,"url":5457,"alt":18,"caption":18,"credit":18,"width":5458,"height":5459},1078,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F11-7.jpg",1719,1136,{"questions":5461,"_type":45},[5462],{"question":5463,"answer":5464},"\u003Cp>Which piece\u002Fs do you feel best captures the fragility of being that you often explore?\u003C\u002Fp>\n","\u003Cp>I’d say all of my work—from Vivarium to Alaturka—holds that fragility of being.\u003C\u002Fp>\n",{"variant":1116,"images":5466,"_type":73},[5467,5470],{"_id":5468,"url":5469,"alt":18,"caption":18,"credit":18,"width":3169,"height":5441},1056,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F8-10.jpg",{"_id":5471,"url":5472,"alt":18,"caption":18,"credit":18,"width":3169,"height":5441},1057,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F9-8.jpg",{"questions":5474,"_type":45},[5475],{"question":5476,"answer":5477},"\u003Cp>Which piece began as a personal memory and transformed into something more universal?\u003C\u002Fp>\n","\u003Cp>Singularity. It began as a personal observation—something close, intimate—but as the work evolved, it became a broader narrative, a kind of collective document of photography series.\u003C\u002Fp>\n",{"images":5479,"size":84,"_type":57},[5480],{"_id":5481,"url":5482,"alt":18,"caption":18,"credit":18,"width":5458,"height":5459},1079,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F12-4.jpg",{"questions":5484,"_type":45},[5485],{"question":5486,"answer":5487},"\u003Cp>What part of yourself do you think lives most vividly in your work?\u003C\u002Fp>\n","\u003Cp>My present self. I believe we wake up as new versions of ourselves every day, and my work evolves alongside that unfolding. It can shift completely from one day to the next—always reflecting who I am in the moment of making. I would also say fragmentation—the sense of being, acting, and exploring more than one thing at once\u003C\u002Fp>\n",{"images":5489,"size":84,"_type":57},[5490],{"_id":3490,"url":5491,"alt":18,"caption":18,"credit":18,"width":2665,"height":5492},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F13-2.jpg",1803,{"questions":5494,"_type":45},[5495],{"question":5496,"answer":5497},"\u003Cp>What have you unlearned through your practice?\u003C\u002Fp>\n","\u003Cp>Patience, acceptance, letting go.\u003C\u002Fp>\n",{"images":5499,"size":84,"_type":57},[5500],{"_id":5501,"url":5502,"alt":18,"caption":18,"credit":18,"width":5503,"height":5504},1081,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F02\u002F14-1.jpg",2353,1572,{"questions":5506,"_type":45},[5507],{"question":638,"answer":5508},"\u003Cp>I’m currently working on a show—details to be announced soon.\u003Cbr \u002F>\nYou can find me online here:\u003C\u002Fp>\n\u003Cp>Instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Ftutu___________________\u002F?hl=en&g=5\">tutu___________________\u003C\u002Fa>\u003Cbr \u002F>\nWebsite: \u003Ca href=\"https:\u002F\u002Fwww.tututugcesonmez.com\">https:\u002F\u002Fwww.tututugcesonmez.com\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":5510,"slug":5511,"name":5512,"index":5513,"date":5514,"thumbnails":5515,"description":18,"footerImage":5525,"categories":5528,"sections":5530},532,"ylaria-pavone","Ylaria Pavone",42,"2025-06-07",{"quote":5516,"main":5517,"secondary":5521,"reverse":24},"\u003Cp>“I like to think of Paguro as something potentially infinite: a spiral that could go on for kilometers, without ever stopping.”\u003C\u002Fp>\n",{"image":5518,"background":21,"fit":139},{"_id":5519,"url":5520,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},1082,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1.jpg",{"image":5522,"background":137,"fit":56},{"_id":5523,"url":5524,"alt":18,"caption":18,"credit":18,"width":2726,"height":4513},534,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fmain-2.jpg",{"_id":5526,"url":5527,"alt":18,"caption":18,"credit":18,"width":2726,"height":5109},535,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FUntitled-2.jpg",[5529],{"_id":33,"slug":34,"name":35},[5531,5535,5540,5543,5548,5556,5561,5568,5573,5577,5582,5590,5595,5599,5604,5609,5614,5619,5624],{"questions":5532,"_type":45},[5533],{"question":4203,"answer":5534},"\u003Cp>Hellooo, my name is Ylaria and I currently live and work in Milan, with the constant dream of leaving.\u003C\u002Fp>\n",{"questions":5536,"_type":45},[5537],{"question":5538,"answer":5539},"\u003Cp>You work with expressive, natural materials like glass, often letting their form speak for itself, what draws you to these materials, and how do they help tell the stories behind your objects?\u003C\u002Fp>\n","\u003Cp>Natural materials are at the center of my work. Often, it’s the material itself that suggests the direction to take, while other times it becomes an obstacle. That’s the case with Paguro: creating a spiral in glass without using a mold is a real challenge. After a lot of research, we managed to adapt an old Italian craft technique to our advantage. For Paguro, I wanted a daily-use object that could also be poetic and symbolic — and there’s no better material than glass to express the delicacy and beauty of daily life.\u003C\u002Fp>\n",{"images":5541,"size":84,"_type":57},[5542],{"_id":5519,"url":5520,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},{"questions":5544,"_type":45},[5545],{"question":5546,"answer":5547},"\u003Cp>Has your definition of design changed since you first started working? If so, how?\u003C\u002Fp>\n","\u003Cp>As a child and teenager, I was obsessively drawn to art, without a real reason. No artists in the family, no creatives. This inner passion brought me closer to design, because deep down I wanted to be something different from an artist — I didn’t fully see myself in that role. I wanted to be maybe something more, but with the same intuition and passion I saw in artists.\u003C\u002Fp>\n\u003Cp>However, that first vision was soon challenged by the dominant ideals in the design world, where everything seems to have to be monochrome, measured, and above all extremely functional to be considered “real” design.\u003Cbr \u002F>\nThanks to one of the studios I worked in, I found the freedom to look at things from a different perspective.\u003Cbr \u002F>\nI don’t think we designers are artists, but I believe we’re much closer than we often admit. We serve people, of course, and we respond to real needs. But many times, that need comes from inside us first: whether it’s functional, aesthetic or poetic, it starts from a personal intuition.\u003C\u002Fp>\n\u003Cp>And this idea of design — more open, human, and less tied to rigid rules — is the one I truly identify with.\u003C\u002Fp>\n",{"variant":1116,"images":5549,"_type":73},[5550,5553],{"_id":5551,"url":5552,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},1083,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2.jpg",{"_id":5554,"url":5555,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},1084,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3.jpg",{"questions":5557,"_type":45},[5558],{"question":5559,"answer":5560},"\u003Cp>With Paguro, you transform a glass into something poetic and symbolic. How did the spiral become your way of expressing evolution and transformation?\u003C\u002Fp>\n","\u003Cp>I don’t exactly remember the moment I decided to go beyond the limits of glass shaping.\u003Cbr \u002F>\nI only know that Paguro was born in a time when I wasn’t afraid: not of life, not of challenges, not of the future. I designed it with the awareness — almost a vision — that one day it would enter homes, the daily lives of strangers and loved ones, becoming a silent part of their gestures.\u003C\u002Fp>\n\u003Cp>I feel deeply connected to this project, not only for its aesthetics, but because it’s the result of detailed research, both on the material and on the production process.\u003C\u002Fp>\n\u003Cp>I like to think of Paguro as something potentially infinite: a spiral that could go on for kilometers, without ever stopping. That would be wonderful — and a bit crazy.\u003Cbr \u002F>\nInfinity, transformation, evolution, and sensuality: these are the elements I wanted to include in Paguro.\u003C\u002Fp>\n",{"variant":1116,"images":5562,"_type":73},[5563,5566],{"_id":5564,"url":5565,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},1085,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4.jpg",{"_id":509,"url":5567,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5.jpg",{"questions":5569,"_type":45},[5570],{"question":5571,"answer":5572},"\u003Cp>The sea, shells, and waves seem central to this project. What draws you to the natural world as a source of form and metaphor?\u003C\u002Fp>\n","\u003Cp>Take the hermit crab for example: its shell is not just a shelter, but a real home that the animal carries with it, fitting perfectly inside. A simple and extraordinary gesture at the same time.\u003C\u002Fp>\n\u003Cp>Nature is amazing, and has always been the most powerful source of inspiration for designers, engineers, and architects, who have looked at its mechanisms as a model to learn from.\u003C\u002Fp>\n\u003Cp>In this project, it was the sea that guided me: its movements, its transformations, the passing of time that shapes and leaves traces. That’s where my inspiration came from.\u003C\u002Fp>\n",{"images":5574,"size":56,"_type":57},[5575],{"_id":943,"url":5576,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6.jpg",{"questions":5578,"_type":45},[5579],{"question":5580,"answer":5581},"\u003Cp>With Dinner’s Ready, you turn the act of sharing into something theatrical. What sparked the idea to make a communal object that’s impossible to actually use?\u003C\u002Fp>\n","\u003Cp>Dinner’s Ready was created as part of an exhibition project focused on the theme of antithesis — contrast.\u003C\u002Fp>\n\u003Cp>The heart of my work has always been telling stories about daily gestures, and in this case I imagined an elegant, spectacular, almost theatrical dinner. A dinner that suggests abundance, luxury, and sometimes even exaggeration.\u003C\u002Fp>\n\u003Cp>Visually, I wanted to create something surreal, with dramatic lights and settings.\u003Cbr \u002F>\nIt’s not an easy project to explain or understand right away: it needs to be experienced in the right context.\u003Cbr \u002F>\nIt’s a glass sculpture that, beyond its shape, speaks about something we all relate to: the need to share.\u003C\u002Fp>\n",{"variant":222,"images":5583,"_type":73},[5584,5587],{"_id":5585,"url":5586,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},1088,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7.jpg",{"_id":5588,"url":5589,"alt":18,"caption":18,"credit":18,"width":4926,"height":5504},1089,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8.jpg",{"questions":5591,"_type":45},[5592],{"question":5593,"answer":5594},"\u003Cp>You’re inspired by the small gestures of daily life. Is there a particular gesture that recently caught your attention and made you want to design around it?\u003C\u002Fp>\n","\u003Cp>Since the beginning of this year, I’ve fallen in love with a material that I really want to bring into people’s daily lives.\u003C\u002Fp>\n\u003Cp>I like working either starting from gestures or from materials, and then leading them to perform gestures.\u003C\u002Fp>\n\u003Cp>I can only say that the gesture I’m interested in exploring today is the one made with a teaspoon.\u003C\u002Fp>\n\u003Cp>Everyone eats ice cream in their own way, uses the teaspoon to stir coffee in Italy, or to eat ramen in Japan.\u003C\u002Fp>\n\u003Cp>I’m fascinated by the idea of creating a collection of “tests” using a single material that represents the union of the gesture itself.\u003C\u002Fp>\n",{"images":5596,"size":56,"_type":57},[5597],{"_id":353,"url":5598,"alt":18,"caption":18,"credit":18,"width":255,"height":5504},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F9.jpg",{"questions":5600,"_type":45},[5601],{"question":5602,"answer":5603},"\u003Cp>You mention that it’s important for you to express yourself in every project. How do you know when a design truly feels like you?\u003C\u002Fp>\n","\u003Cp>What makes a project important to me is the research. I love this work because it never stops teaching me. I’m someone who doesn’t get bored — I see boredom as a loss of opportunity — and I’m grateful to this job and to all the things it helps me discover every day.\u003C\u002Fp>\n\u003Cp>I believe our work gains depth when we know all the possible ways something could be done differently — and yet we choose the one that everyone can see, touch, and have.\u003C\u002Fp>\n",{"images":5605,"size":56,"_type":57},[5606],{"_id":5607,"url":5608,"alt":18,"caption":18,"credit":18,"width":652,"height":4778},1091,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fvpvhbttcizhya4sgyfsj.jpg",{"questions":5610,"_type":45},[5611],{"question":5612,"answer":5613},"\u003Cp>You seem to care deeply about detail. Is there a tiny detail in a piece that most people might overlook, but you love?\u003C\u002Fp>\n","\u003Cp>The details in my projects are more about the story than the aesthetics.\u003Cbr \u002F>\nI think every designer knows how to create an aesthetically pleasing object — but for me, what gives value to the detail is always the story we try to tell.\u003Cbr \u002F>\nIn Dinner’s Ready, for example, beyond the aesthetics of each bowl, each glass, and the central jug, I tried to think about the detail of how they come together — which, to me, had to recall the elegance and culture of glassmaking.\u003C\u002Fp>\n",{"images":5615,"size":56,"_type":57},[5616],{"_id":2284,"url":5617,"alt":18,"caption":18,"credit":18,"width":255,"height":5618},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11.jpg",1367,{"questions":5620,"_type":45},[5621],{"question":5622,"answer":5623},"\u003Cp>What kinds of stories or feelings are you drawn to telling through objects right now?\u003C\u002Fp>\n","\u003Cp>Right now, I feel the need to talk about love.\u003C\u002Fp>\n\u003Cp>Love for things, for passions, for dreams. Love for the simple things that make us happy.\u003C\u002Fp>\n\u003Cp>For the past few months, I’ve been fascinated by one simple and instinctive gesture: eating ice cream with passion.\u003C\u002Fp>\n\u003Cp>I still don’t know where this inspiration will take me, but I hope the project that comes from it will make me proud — just like the works I’ve created so far.\u003C\u002Fp>\n",{"questions":5625,"_type":45},[5626],{"question":638,"answer":5627},"\u003Cp>My website is \u003Ca href=\"https:\u002F\u002Fwww.ylariapavone.com\">ylariapavone.com\u003C\u002Fa>, or you can find me on Instagram on my professional profile where I share not only my projects but also inspirational images: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fylariapavonestudio\u002F?hl=en\">@ylariapavonestudio\u003C\u002Fa>.\u003C\u002Fp>\n",{"_type":6,"_id":5629,"slug":5630,"name":5631,"index":5632,"date":5633,"thumbnails":5634,"description":18,"footerImage":5646,"categories":5649,"sections":5651},536,"mosquito-2","MOSQUITO",43,"2025-06-09",{"quote":5635,"main":5636,"secondary":5640,"reverse":24},"\u003Cp>“I think about what A mosquita wears, what she sees, what she feels, what she looks at, what she smells.”\u003C\u002Fp>\n",{"image":5637,"background":21,"fit":139},{"_id":5638,"url":5639,"alt":18,"caption":18,"credit":18,"width":2726,"height":4513},537,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FUntitled-2-1.jpg",{"image":5641,"background":137,"fit":22},{"_id":5642,"url":5643,"alt":18,"caption":18,"credit":18,"width":5644,"height":5645},538,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FBenijo_Necklace_-_Full_Detail.jpg",1440,2160,{"_id":5647,"url":5648,"alt":18,"caption":18,"credit":18,"width":2726,"height":4513},539,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FFooter.jpg",[5650],{"_id":33,"slug":34,"name":35},[5652,5656,5660,5667,5672,5678,5683,5688,5693,5703,5708,5713,5718,5726,5731,5736,5741,5746,5751,5757,5762,5768,5772],{"questions":5653,"_type":45},[5654],{"question":1766,"answer":5655},"\u003Cp>My name is Marta. I was born in a small and beautiful country nestled between mountains called Andorra. Barcelona has also been my home for eight years, a city that still pulses within me. For the past five years, I’ve been living on the French Atlantic coast, in Biarritz, where the sea and light have a different rhythm.\u003C\u002Fp>\n",{"questions":5657,"_type":45},[5658],{"question":1904,"answer":5659},"\u003Cp>I do what I love. What I dream, what I think, what I feel. Everything I do comes from there.\u003C\u002Fp>\n",{"variant":1116,"images":5661,"_type":73},[5662,5665],{"_id":5663,"url":5664,"alt":18,"caption":18,"credit":18,"width":5644,"height":5645},1094,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FCande_hair_comb_Handcrafted_Statement_Jewelry_by_Mosquito.jpg",{"_id":437,"url":5666,"alt":18,"caption":18,"credit":18,"width":5644,"height":5645},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FVega_hair_comb_Craftsmanship_Natural_Beauty_by_Mosquito.jpg",{"questions":5668,"_type":45},[5669],{"question":5670,"answer":5671},"\u003Cp>What does the name ‘Mosquito’ mean to you? How did it start?\u003C\u002Fp>\n","\u003Cp>Mosquito came from a small moment in time. About 12 years ago, when I was still a student, I spent a weekend in the magical village of Cadaqués. There was an exhibition of Marcel Duchamp —a reference for me— and among his works, I saw the poster Monte Carlo Bond (1924), where the phrase “moustique domestique” was repeated like a pattern. That image stayed with me. I knew at that moment that, if I ever created something, it would be called Mosquito. Over time, I simplified the name: I dropped “domestique” and kept “Mosquito.” More direct, more personal, more mine.\u003C\u002Fp>\n",{"images":5673,"size":56,"_type":57},[5674],{"_id":5675,"url":5676,"alt":18,"caption":18,"credit":18,"width":255,"height":5677},1096,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1-1.jpg",1247,{"questions":5679,"_type":45},[5680],{"question":5681,"answer":5682},"\u003Cp>Do you remember a piece of jewelry from your childhood or family that has stayed with you?\u003C\u002Fp>\n","\u003Cp>I have a vivid memory of an orange amber necklace that belongs to my mother. The beads are large—about 22mm—short in length and close to the neck. As a child, I was fascinated by it, and when I saw it again recently, now as an adult, its beauty surprised me all over again.My mother spent years hand-making necklaces from pearls and gemstones. I remember the display cases filled with strings of coral, turquoise, and pearls hanging like garlands. I remember her, wearing white gloves to protect her hands from the friction of the thread, patiently knotting each pearl one by one—a patience I only now truly understand. Today, those gloves are mine.\u003C\u002Fp>\n",{"images":5684,"size":56,"_type":57},[5685],{"_id":5686,"url":5687,"alt":18,"caption":18,"credit":18,"width":1219,"height":5677},1097,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-1.jpg",{"questions":5689,"_type":45},[5690],{"question":5691,"answer":5692},"\u003Cp>What’s something subtle in your process that makes a big difference in the quality of a piece?\u003C\u002Fp>\n","\u003Cp>Time. Not rushing. The meticulous selection of each material. Every piece is made one by one, with pause, with attention. Craftsmanship and jewelry, for me, can only be slow and precise.\u003C\u002Fp>\n",{"first":5694,"second":5697,"third":5700,"variant":150,"_type":206},{"_id":5695,"url":5696,"alt":18,"caption":18,"credit":18,"width":1219,"height":5677},1098,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-1.jpg",{"_id":5698,"url":5699,"alt":18,"caption":18,"credit":18,"width":1219,"height":5677},1099,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4-1.jpg",{"_id":5701,"url":5702,"alt":18,"caption":18,"credit":18,"width":1219,"height":5677},1100,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-1.jpg",{"questions":5704,"_type":45},[5705],{"question":5706,"answer":5707},"\u003Cp>You place a lot of emphasis on ethical sourcing, especially with gems. What has that research and vetting process looked like for you?\u003C\u002Fp>\n","\u003Cp>It’s the only way I can feel at peace with what I do. It’s been a long journey, sometimes frustrating. So much misinformation, many intermediaries. I’ve had to travel extensively through Europe to find the right people. But the process has taught me a lot. Today, I work directly with suppliers I trust, and that’s essential to me.\u003C\u002Fp>\n",{"images":5709,"size":84,"_type":57},[5710],{"_id":5711,"url":5712,"alt":18,"caption":18,"credit":18,"width":5644,"height":5645},1101,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FRosario_Necklace_-_Side_View.jpg",{"questions":5714,"_type":45},[5715],{"question":5716,"answer":5717},"\u003Cp>What’s the most unconventional source you’ve drawn inspiration from?\u003C\u002Fp>\n","\u003Cp>There are countless things that inspire me on a daily basis. I try to stay very present so I can draw inspiration from anywhere. But without a doubt, my greatest source of inspiration is flowers. I feel a deep admiration for them.\u003C\u002Fp>\n",{"variant":1116,"images":5719,"_type":73},[5720,5723],{"_id":5721,"url":5722,"alt":18,"caption":18,"credit":18,"width":1219,"height":5585},1102,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7-1.jpg",{"_id":5724,"url":5725,"alt":18,"caption":18,"credit":18,"width":1219,"height":5585},1103,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-1.jpg",{"questions":5727,"_type":45},[5728],{"question":5729,"answer":5730},"\u003Cp>Your brand aesthetic feels intentionally understated. Elegant without excess. What inspires that kind of visual softness?\u003C\u002Fp>\n","\u003Cp>I’m inspired by the beauty of the ordinary. Beauty without excess, the beauty of the natural. The routines, the day-to-day. I always try to humanize the brand through my images. To think about what A mosquita wears, what she sees, what she feels, what she looks at, what she smells. That’s the most sincere way to communicate.\u003C\u002Fp>\n",{"images":5732,"size":56,"_type":57},[5733],{"_id":662,"url":5734,"alt":18,"caption":18,"credit":18,"width":1219,"height":5735},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F99.jpg",503,{"questions":5737,"_type":45},[5738],{"question":5739,"answer":5740},"\u003Cp>If you could design something for someone from history, who would it be?\u003C\u002Fp>\n","\u003Cp>Loulou de la Falaise. Peggy Guggenheim. Jacqueline Kennedy. Lady Di\u003C\u002Fp>\n",{"images":5742,"size":84,"_type":57},[5743],{"_id":5744,"url":5745,"alt":18,"caption":18,"credit":18,"width":54,"height":3032},1105,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F10.jpg",{"questions":5747,"_type":45},[5748],{"question":5749,"answer":5750},"\u003Cp>Outside of jewelry, is there an object you’ve always wanted to create?\u003C\u002Fp>\n","\u003Cp>I would love, one day, to create shoes and a lamps\u003C\u002Fp>\n",{"images":5752,"size":56,"_type":57},[5753],{"_id":5754,"url":5755,"alt":18,"caption":18,"credit":18,"width":5379,"height":5756},1106,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11-1.jpg",694,{"questions":5758,"_type":45},[5759],{"question":5760,"answer":5761},"\u003Cp>Do you see Mosquito as an extension of your lifestyle, or as a vision for how you hope to live?\u003C\u002Fp>\n","\u003Cp>Mosquito is my intimate universe. My lifestyle is a bit different, so I would say it’s something that resides more within me—something very honest that reflects my vision and what I want to share with the world. A sort of personal manifesto. A way of being in the world, of observing it, of inhabiting it from sensitivity. A way of sharing and communicating.\u003C\u002Fp>\n",{"images":5763,"size":84,"_type":57},[5764],{"_id":5765,"url":5766,"alt":18,"caption":18,"credit":18,"width":5767,"height":1600},1107,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F12.jpg",457,{"questions":5769,"_type":45},[5770],{"question":2384,"answer":5771},"\u003Cp>Yoga. Although it might seem like a typical or trendy answer, I would firmly say yoga. It has given me so much. While I deeply love my work, I need to disconnect. Through yoga practice, it’s the only way I manage to stay present, not thinking about anything beyond the moment I’m in. And that, to me, is profoundly valuable.\u003C\u002Fp>\n",{"questions":5773,"_type":45},[5774],{"question":638,"answer":5775},"\u003Cp>You can find me on Instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmmossquito\u002F?hl=en\">@mmossquito\u003C\u002Fa>, where I share the daily life of the project. Very soon, also on a new website, our store\u2028\u003Ca href=\"https:\u002F\u002Fwww.mosquito-shop.es\u002F?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnzsuF54mXEbsZ4uVGbcixqNlSKtxg5ZPeJvQkVZR-cuXU7TEpqw_3bWFsmRo_aem_TtRXEKleVXxaYfJ2geV4mA\">www.mosquito-shop.es\u003C\u002Fa> .\u003C\u002Fp>\n",{"_type":6,"_id":5777,"slug":5778,"name":5779,"index":5780,"date":5781,"thumbnails":5782,"description":18,"footerImage":5794,"categories":5798,"sections":5800},542,"datecrete","DATECRETE",44,"2025-06-11",{"quote":5783,"main":5784,"secondary":5789,"reverse":24},"\u003Cp>“We see the palm not just as a tree, but as a witness, it is omnipresent in the region’s mythologies, economies, and historical survival strategies.”\u003C\u002Fp>\n",{"image":5785,"background":21,"fit":22},{"_id":5786,"url":5787,"alt":18,"caption":18,"credit":18,"width":5788,"height":4004},2655,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FDATE1.jpg",1276,{"image":5790,"background":21,"fit":139},{"_id":5791,"url":5792,"alt":18,"caption":18,"credit":18,"width":5793,"height":4004},2656,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FDATE2.jpg",636,{"_id":5795,"url":5796,"alt":18,"caption":18,"credit":18,"width":5797,"height":3044},545,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Ffooter-1.jpg",1576,[5799],{"_id":33,"slug":34,"name":35},[5801,5805,5809,5819,5824,5829,5834,5839,5844,5849,5853,5858,5864,5869,5874,5882,5887,5891,5896,5903,5908,5914,5919,5924,5929],{"questions":5802,"_type":45},[5803],{"question":1319,"answer":5804},"\u003Cp>We are Sara Farha and Khaled Shalkha, a Lebanese-Palestinian duo and the co-founders of Datecrete Studio & Lab. We are currently based in Dubai.\u003C\u002Fp>\n",{"questions":5806,"_type":45},[5807],{"question":2426,"answer":5808},"\u003Cp>We are a practice that merges material research, architecture, and ecological design. We develop slow, handmade architectural objects using our patent-pending material Datecrete; a date-pit-based, cement- and resin-free traditional concrete alternative.\u003C\u002Fp>\n",{"variant":1116,"images":5810,"_type":73},[5811,5815],{"_id":5812,"url":5813,"alt":18,"caption":18,"credit":18,"width":5767,"height":5814},1109,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1-2.jpg",258,{"_id":5816,"url":5817,"alt":18,"caption":18,"credit":18,"width":5818,"height":1443},1110,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-2.jpg",554,{"questions":5820,"_type":45},[5821],{"question":5822,"answer":5823},"\u003Cp>What was the initial spark that made you see the date pit as more than agricultural waste?\u003C\u002Fp>\n","\u003Cp>Khaled accidentally stepped on a date pit and remarked how hard it was, like stepping on a Lego. That sensation lingered and turned into a question: if something so small and dense causes this much pain underfoot, could it also bear weight? Could it be reconstituted into structure? That curiosity became a research trajectory.\u003C\u002Fp>\n",{"images":5825,"size":56,"_type":57},[5826],{"_id":5827,"url":5828,"alt":18,"caption":18,"credit":18,"width":5818,"height":1443},1111,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-2.jpg",{"questions":5830,"_type":45},[5831],{"question":5832,"answer":5833},"\u003Cp>Were you set on using date pits from the start, or did you explore other materials first?\u003C\u002Fp>\n","\u003Cp>Yes, we were set on using date pits from the beginning. Beyond their abundance and structural potential, we had also grown aware of their forgotten legacy in cosmetic, medicinal, and ornamental traditions—used in traditional kohl, herbal remedies, and even as carved decorative objects. Their material promise was matched by a layered historical and symbolic presence that we felt deserved reactivation.\u003C\u002Fp>\n",{"questions":5835,"_type":45},[5836],{"question":5837,"answer":5838},"\u003Cp>Can you take us through the earliest experiments with Datecrete? Were there any surprising failures or breakthroughs?\u003C\u002Fp>\n","\u003Cp>The very first initial prototypes of Datecrete were developed during our participation in the Tanween 2022 design program. That residency provided us with the time and structure to start testing the material’s feasibility. However, the journey didn’t end there. Since then, we’ve significantly evolved and honed the material beyond its early form, through extensive lab testing, experimentation with different binders, and process refinement.\u003C\u002Fp>\n\u003Cp>Our earliest independent experiments took place in our kitchen and garage. We tried everything—grinding pits with spice grinders, sun-drying vs. oven-drying, different binder systems. Some samples crumbled on contact. Others took too long to cure. A major breakthrough was identifying the optimal roast and particle size for bond strength. We now source pits from local date processing factories in the UAE, intercepting them before they’re discarded or composted.\u003C\u002Fp>\n",{"images":5840,"size":84,"_type":57},[5841],{"_id":1184,"url":5842,"alt":18,"caption":18,"credit":18,"width":5818,"height":5843},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-1.jpg",370,{"questions":5845,"_type":45},[5846],{"question":5847,"answer":5848},"\u003Cp>How does Datecrete differ structurally and environmentally from conventional concrete or engineered wood?\u003C\u002Fp>\n","\u003Cp>Structurally, Datecrete has excellent compressive strength for non-load-bearing applications. Unlike engineered wood, it doesn’t rely on formaldehyde-based adhesives or synthetic resins. Environmentally, it uses significantly less water in the mixing and curing process compared to traditional cement-based systems. Additionally, the binder system is composed entirely of natural components, with no synthetic additives. Perhaps most notably, Datecrete has the capacity to sequester CO₂ from the environment during its curing phase, adding a regenerative element to its life cycle.\u003C\u002Fp>\n",{"images":5850,"size":84,"_type":57},[5851],{"_id":5109,"url":5852,"alt":18,"caption":18,"credit":18,"width":5818,"height":5843},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7-2.jpg",{"questions":5854,"_type":45},[5855],{"question":5856,"answer":5857},"\u003Cp>What’s something you learnt about dates through this process that you wouldn’t have otherwise known?\u003C\u002Fp>\n","\u003Cp>We discovered that date seeds have been used across history in far more ways than we imagined. In the MENA region, they were roasted and ground to make traditional kohl eyeliner, used in cosmetics, pressed into pastes for medicinal purposes, and even processed into pigments and dyes. The seeds were also burned as incense, carved as ornamental beads, and used in early methods of water filtration. This deep history revealed to us that date pits were never truly waste, they carried knowledge and utility that had simply been forgotten.\u003C\u002Fp>\n",{"images":5859,"size":84,"_type":57},[5860],{"_id":5861,"url":5862,"alt":18,"caption":18,"credit":18,"width":5863,"height":5843},1116,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-2.jpg",494,{"images":5865,"size":84,"_type":57},[5866],{"_id":5867,"url":5868,"alt":18,"caption":18,"credit":18,"width":1790,"height":2167},1117,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fvlcsnap-2025-02-24-23h02m24s576-scaled.png",{"questions":5870,"_type":45},[5871],{"question":5872,"answer":5873},"\u003Cp>How do you see Datecrete contributing to a shift in sustainability thinking?\u003C\u002Fp>\n","\u003Cp>It repositions waste as a structural resource and bridges the gap between food systems and our built environment. By using discarded agricultural byproducts; specifically date seeds, we are looping nutrient cycles into architectural cycles. For example, our Datecrete Bee Hotel is a living sculpture designed to support pollinators, it demonstrates how food system waste can generate new ecological functions within urban and rural spaces. It’s a small-scale intervention with large symbolic implications.\u003C\u002Fp>\n",{"variant":1116,"images":5875,"_type":73},[5876,5879],{"_id":5877,"url":5878,"alt":18,"caption":18,"credit":18,"width":1927,"height":5481},1118,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F10-1.jpg",{"_id":5880,"url":5881,"alt":18,"caption":18,"credit":18,"width":1927,"height":5481},1119,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11-2.jpg",{"questions":5883,"_type":45},[5884],{"question":5885,"answer":5886},"\u003Cp>The date palm has a powerful presence in the cultural memory of the MENA region. How does that legacy shape your practice?\u003C\u002Fp>\n","\u003Cp>It’s at the core of our work. We see the palm not just as a tree, but as a witness, it is omnipresent in the region’s mythologies, economies, and historical survival strategies. By working with the seed, we’re quite literally working with the memory of the land.\u003C\u002Fp>\n",{"images":5888,"size":56,"_type":57},[5889],{"_id":1876,"url":5890,"alt":18,"caption":18,"credit":18,"width":1927,"height":3201},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F12-1.jpg",{"questions":5892,"_type":45},[5893],{"question":5894,"answer":5895},"\u003Cp>Can you tell us about the Datecrete Accent Chair and why you designed it this way?\u003C\u002Fp>\n","\u003Cp>The Datecrete Accent Chair is made from a combination of Datecrete, oakwood veneer, bent plywood, and sheepskin upholstery. The design draws inspiration from the intimate bond between humans and their pets, celebrating shared moments of rest and relaxation. While the storage areas are perfect for essentials, they can also serve as a cozy retreat for your furry companion. The use of sheepskin upholstery adds not only tactile warmth but also carries a natural lanolin scent that is particularly attractive to cats, making it a natural haven for them.\u003C\u002Fp>\n",{"variant":1179,"images":5897,"_type":73},[5898,5900],{"_id":2488,"url":5899,"alt":18,"caption":18,"credit":18,"width":5818,"height":985},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4-2.jpg",{"_id":5901,"url":5902,"alt":18,"caption":18,"credit":18,"width":5818,"height":985},1113,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-2.jpg",{"questions":5904,"_type":45},[5905],{"question":5906,"answer":5907},"\u003Cp>Is there a project or partnership you hope to realize through Datecrete?\u003C\u002Fp>\n","\u003Cp>Yes! Sara is about to begin a PhD program focused on advancing Datecrete research and honing the material’s formulation and structural applications. An official announcement will be made soon, but this new academic collaboration and access to laboratory facilities will be tremendously important for taking the material forward. We have a long list of ideas we are eager to explore; from enhancing performance properties to experimenting with new natural additives and structural applications.\u003C\u002Fp>\n",{"images":5909,"size":84,"_type":57},[5910],{"_id":5911,"url":5912,"alt":18,"caption":18,"credit":18,"width":3441,"height":5913},1121,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F13.jpg",479,{"questions":5915,"_type":45},[5916],{"question":5917,"answer":5918},"\u003Cp>Has working with a material tied so deeply to regional identity shifted how you think about your own relationship to place and land?\u003C\u002Fp>\n","\u003Cp>Absolutely. It has made us more attentive and hands-on in our design process, sharpening our awareness of local ecologies and resources. Working with Datecrete has allowed us to bridge multidisciplinary practices: spanning architecture, material science, and cultural history, and to create design that is intimately informed by deep scientific research into the material itself.\u003C\u002Fp>\n",{"questions":5920,"_type":45},[5921],{"question":5922,"answer":5923},"\u003Cp>Could the concept behind Datecrete be applied to other byproducts from regional agriculture?\u003C\u002Fp>\n","\u003Cp>Yes. We believe this framework can be translatable for other industrial byproducts that have a wood-like constituency like olive pitsetc. The core idea is about closing loops between agriculture and construction.\u003C\u002Fp>\n",{"images":5925,"size":56,"_type":57},[5926],{"_id":5927,"url":5928,"alt":18,"caption":18,"credit":18,"width":2915,"height":5913},1122,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F14.jpg",{"questions":5930,"_type":45},[5931],{"question":638,"answer":5932},"\u003Cp>You can find us at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fdatecrete\u002F?hl=en\">@datecrete\u003C\u002Fa> on Instagram or visit our website at \u003Ca href=\"https:\u002F\u002Fdatecrete.com\">www.datecrete.com\u003C\u002Fa>. A significant portion of the pavers infront of the UAE Pavilion in Expo Osaka 2025 are made out of Datecrete! As for upcoming exciting projects; we will soon debut a modern take on the historical pigeon tower as outcome of the Art Jameel Research and Practice Platform grant, we are also collaborating with a fashion designer to create wearable-functional art objects.\u003C\u002Fp>\n",{"_type":6,"_id":5934,"slug":5935,"name":5936,"index":5937,"date":5938,"thumbnails":5939,"description":18,"footerImage":5947,"categories":5951,"sections":5953},547,"kevin-krumnikl","Kevin Krumnikl",45,"2025-06-13",{"quote":5940,"main":5941,"secondary":5946,"reverse":24},"\u003Cp>“I am no friend of uniformity at all. Sadly, it seems large parts of society tend to obey this concept. My chairs are all one-of-a-kind chairs with no intention to favour or to go into mass production”\u003C\u002Fp>\n",{"image":5942,"background":137,"fit":139},{"_id":5943,"url":5944,"alt":18,"caption":18,"credit":18,"width":5945,"height":1900},2820,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F45-head.jpg",1362,{"image":24,"background":21,"fit":22},{"_id":681,"url":5948,"alt":18,"caption":18,"credit":18,"width":5949,"height":5950},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Ffooter-3.jpg",1386,2056,[5952],{"_id":33,"slug":34,"name":35},[5954,5958,5962,5967,5972,5976,5981,5986,5991,6000,6005,6010,6015,6020,6025,6030,6035,6040,6045,6050],{"questions":5955,"_type":45},[5956],{"question":4203,"answer":5957},"\u003Cp>Hello, my name is Kevin Krumnikl, I am originally from Heidelberg, Germany and am currently living in Leipzig, Germany\u003C\u002Fp>\n",{"questions":5959,"_type":45},[5960],{"question":2426,"answer":5961},"\u003Cp>I build objects that usually come along as chairs, mainly consisting of used, donated and found materials referring to everyday life, shapes, materials or events of the day.\u003C\u002Fp>\n",{"images":5963,"size":56,"_type":57},[5964],{"_id":4429,"url":5965,"alt":18,"caption":18,"credit":18,"width":5966,"height":4282},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-3.jpg",651,{"questions":5968,"_type":45},[5969],{"question":5970,"answer":5971},"\u003Cp>You’ve moved from carpentry to design to art—what influenced these shifts?\u003C\u002Fp>\n","\u003Cp>Frankly, I don’t really know, it’s been kind of a natural and lingering process. I never had any plans in my life and just followed the things that felt right, were interesting or sometimes just convenient. Of course, there’s always been an interest in art, design and making. I remember building my first chairs when I was around 15 or so, already consisting of left over metal that I gathered in my dad’s company and welded it to chairs, with the help of Mr. Stumpf a highly skilled welder. So, probably I knew about my destination very early but had to climb that rocky mountain I’ve been climbing to get here and I think if I am totally honest with myself I’ve always been looking for something giving me the maximum of freedom (of course not moneywise). No one tells me what to do and how to do it. This is something that always bothered me as a carpenter and designer, you must stick to plans, customer ideas and measurements. Now I think I found quiet a good mix of money jobs that still force me to do what other people want and my personal work with a max of freedom where I can focus on the process …\u003C\u002Fp>\n",{"images":5973,"size":84,"_type":57},[5974],{"_id":2728,"url":5975,"alt":18,"caption":18,"credit":18,"width":5966,"height":1157},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-3.jpg",{"questions":5977,"_type":45},[5978],{"question":5979,"answer":5980},"\u003Cp>Chairs are such familiar objects. What makes them so rich for experimentation?\u003C\u002Fp>\n","\u003Cp>Good question! First, it is an interesting object itself. It is supposed to be one of the oldest pieces of furniture in human history showcasing power, social ranking, and such as profession and culture. A chair showing many attributes created by society allegedly categorising people, even today you could look at it like this. It is also fascinating how each culture found its own way to build chairs, using different materials, skills, typical crafts and designs. Chairs can also be very specialized if you look at the various fields of application. So, there is no limit and maybe that’s what makes them so rich for experimentation. Especially if you just follow your ideas and don’t give a shit about practical purposes. To me it is more of an object or sculpture since there are already so many great and comfy chairs out there which I am not interested in competing with.\u003C\u002Fp>\n",{"images":5982,"size":56,"_type":57},[5983],{"_id":5984,"url":5985,"alt":18,"caption":18,"credit":18,"width":5966,"height":1157},1127,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-3.jpg",{"questions":5987,"_type":45},[5988],{"question":5989,"answer":5990},"\u003Cp>What’s the strangest or most unexpected material\u002Fs you’ve used to build a chair\u002Fs?\u003C\u002Fp>\n","\u003Cp>The strangest and most challenging material I’ve been working with so far was mycelium. I did a project with the great team of Bygaard in Copenhagen who let me explore their world of mycelium back in august 2024. I coincidentally stumbled across them when I was cycling back from a money job I had in Sweden. Lasse the owner was immediately open for a project and he and his team supported me unbelievably. Working with nature is a totally different thing, even though you have people sharing all their knowledge on it. It is very fragile, kind of unpredictable and you need a lot of patience. I had 4 different ideas, and all had turned out completely different as expected and it took me quite a while to accept it and see the beauty in it. A wonderful experience on all levels! Thanks to Nature and Bygaard!\u003C\u002Fp>\n",{"variant":1116,"images":5992,"_type":73},[5993,5996],{"_id":5994,"url":5995,"alt":18,"caption":18,"credit":18,"width":5642,"height":2829},1128,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-2.jpg",{"_id":5997,"url":5998,"alt":18,"caption":18,"credit":18,"width":5999,"height":1035},1129,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7-3.jpg",632,{"questions":6001,"_type":45},[6002],{"question":6003,"answer":6004},"\u003Cp>What role does imperfection play in your work?\u003C\u002Fp>\n","\u003Cp>I would like to quote Bob Marley on this one. He was once asked if there was a perfect woman and I think his answer shouldn’t be used on women only but globally.\u003C\u002Fp>\n\u003Cp>“Who cares about perfection? Even the moon is not perfect, it is full of craters. The sea is incredibly beautiful but salty and dark in the depths. The sky is always infinite but often cloudy. So, everything that is beautiful isn´t perfect. It’s special. Therefore, every woman can be special to someone. Stop being “perfect” but try to be free and live doing what you love not wanting to impress others.”\u003C\u002Fp>\n",{"images":6006,"size":84,"_type":57},[6007],{"_id":6008,"url":6009,"alt":18,"caption":18,"credit":18,"width":5756,"height":5294},1130,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-3.jpg",{"questions":6011,"_type":45},[6012],{"question":6013,"answer":6014},"\u003Cp>Can you explain the concept behind tenwordSandoneShot in ten words?\u003C\u002Fp>\n","\u003Cp>Experience, Exchange, Art, Interaction, Curiosity, Diversity, Freedom, Spirit of the age, Communication, Treasure\u003C\u002Fp>\n",{"questions":6016,"_type":45},[6017],{"question":6018,"answer":6019},"\u003Cp>In what ways do your chairs push back against uniformity?\u003C\u002Fp>\n","\u003Cp>I am no friend of uniformity at all. Sadly, it seems large parts of society tend to obey this concept. My chairs are all one-of-a-kind chairs with no intention to favour or to go into mass production. All of them deal with not so popular issues, such as uniformity, pollution, war, ostracism, or personal things and ideas that come along my way. Most of my chairs, even though there is always the approach, are not really to sit or let’s say not so comfy. They just don’t fit the idea of a chair as a chair, are not perfect, sometimes dirty, irritating, loud and annoying.\u003C\u002Fp>\n",{"images":6021,"size":56,"_type":57},[6022],{"_id":6023,"url":6024,"alt":18,"caption":18,"credit":18,"width":5756,"height":5294},1131,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F9-1.jpg",{"questions":6026,"_type":45},[6027],{"question":6028,"answer":6029},"\u003Cp>You said diving into the process is a kind of relief—what are you escaping from when you make?\u003C\u002Fp>\n","\u003Cp>Not to think about the many questions of life whatever those might be after waking up and having read the news…\u003C\u002Fp>\n",{"images":6031,"size":56,"_type":57},[6032],{"_id":6033,"url":6034,"alt":18,"caption":18,"credit":18,"width":5756,"height":5294},1132,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F10-2.jpg",{"questions":6036,"_type":45},[6037],{"question":6038,"answer":6039},"\u003Cp>What part of your past do you feel shows up most often in your work?\u003C\u002Fp>\n","\u003Cp>For me it is obvious, my time as a carpenter, and construction worker. I do have a fable for wood (of course) but also all materials used on underground work and surface construction sites. Those materials have always been true treasures to me. I kind of must stop at almost any construction site and check the site itself but also all materials there.\u003C\u002Fp>\n",{"images":6041,"size":56,"_type":57},[6042],{"_id":6043,"url":6044,"alt":18,"caption":18,"credit":18,"width":5756,"height":5294},1133,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11-3.jpg",{"questions":6046,"_type":45},[6047],{"question":6048,"answer":6049},"\u003Cp>What’s a feeling or idea you’d love for someone to walk away with after sitting in—or simply seeing—one of your works?\u003C\u002Fp>\n","\u003Cp>Any kind of quarrel is appreciated! I hope my chairs just start your own critical „Kopfkino“as we say in Germany…\u003C\u002Fp>\n",{"questions":6051,"_type":45},[6052],{"question":638,"answer":6053},"\u003Cp>Unfortunately, I currently don’t have a physical space, so it’s probably Instagram (studio-kevin-krumnikl) or email (info@krumnikl.com)\u003C\u002Fp>\n",{"_type":6,"_id":6055,"slug":6056,"name":6057,"index":6058,"date":6059,"thumbnails":6060,"description":18,"footerImage":6067,"categories":6072,"sections":6074},553,"loumi-le-floch","Loumi le Floc’h",46,"2025-06-15",{"quote":6061,"main":6062,"secondary":6066,"reverse":24},"\u003Cp>“For me, it’s about using a material whose potential we’d never have imagined. It opens people’s minds to imagine that it’s possible to make fabrics from eggplant peelings.”\u003C\u002Fp>\n",{"image":6063,"background":21,"fit":22},{"_id":6064,"url":6065,"alt":18,"caption":18,"credit":18,"width":4427,"height":1991},1140,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-3.jpg",{"image":24,"background":21,"fit":22},{"_id":6068,"url":6069,"alt":18,"caption":18,"credit":18,"width":6070,"height":6071},555,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Ffooter-4.jpg",1156,1613,[6073],{"_id":33,"slug":34,"name":35},[6075,6080,6084,6092,6097,6102,6107,6113,6118,6124,6129,6136,6141,6146,6151,6156,6161,6166,6174,6179,6184],{"questions":6076,"_type":45},[6077],{"question":6078,"answer":6079},"\u003Cp>What’s your name and where are you from\u002FBased?\u003C\u002Fp>\n","\u003Cp>I’m Loumi Le Floc’h, I’m French from the South-Ouest and based in Brussels, belgium.\u003C\u002Fp>\n",{"questions":6081,"_type":45},[6082],{"question":2426,"answer":6083},"\u003Cp>My project name is Precious Peels, made from eggplant peels, it presents itself as a surface somewhere between the delicacy of paper and the suppleness of fabric. They reinvent interior decoration.Inserted between two panes of glass for unique glazing, transformed into wall coverings or exceptional objects, they enhance spaces with their delicacy and elegance. A unique blend of high-end design, ancestral craftsmanship, and sustainable innovation.\u003C\u002Fp>\n",{"variant":1179,"images":6085,"_type":73},[6086,6090],{"_id":6087,"url":6088,"alt":18,"caption":18,"credit":18,"width":276,"height":6089},1135,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4-4.jpg",412,{"_id":5459,"url":6091,"alt":18,"caption":18,"credit":18,"width":276,"height":6089},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-4.jpg",{"questions":6093,"_type":45},[6094],{"question":6095,"answer":6096},"\u003Cp>What was the very first object you ever wanted to create?\u003C\u002Fp>\n","\u003Cp>The first object was a stained glass, I created a real stained glass, with the main and ancient technique. After this, I started to think about how to make stained glass but without the real technique, only with eggplant peels surfaces and plaque of glass.\u003C\u002Fp>\n",{"images":6098,"size":56,"_type":57},[6099],{"_id":6100,"url":6101,"alt":18,"caption":18,"credit":18,"width":5756,"height":5294},1137,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1-3.jpg",{"questions":6103,"_type":45},[6104],{"question":6105,"answer":6106},"\u003Cp>How did eggplants first appear as a potential material, and how did that become Precious Peels?\u003C\u002Fp>\n","\u003Cp>That started during my graduation year, i started to produce verre tiny sample, it was really super translucent. and at the moment that started to really surprise the people who discovered it. After my graduation I continued this project and now it’s around 3m by 1,5m. Regularly the material is used for interior design especially for glazing and like precious wallpaper.\u003C\u002Fp>\n",{"images":6108,"size":56,"_type":57},[6109],{"_id":6110,"url":6111,"alt":18,"caption":18,"credit":18,"width":3229,"height":6112},1138,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F10-3.jpg",1238,{"questions":6114,"_type":45},[6115],{"question":6116,"answer":6117},"\u003Cp>Can you walk us through the journey of transforming an eggplant peel into a finished material?\u003C\u002Fp>\n","\u003Cp>yes, daily day started calling the lebanese restaurant, if there are eggplant peels i go to pick up the bags of eggplant peels and i go back to my workshop to transform the raw material, i cooked, i scratch, put on surface and that dry, when its dray i take of and its really to put between two glass or use in different way.\u003C\u002Fp>\n",{"variant":176,"images":6119,"_type":73},[6120,6123],{"_id":6121,"url":6122,"alt":18,"caption":18,"credit":18,"width":4427,"height":1991},1139,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-4.jpg",{"_id":6064,"url":6065,"alt":18,"caption":18,"credit":18,"width":4427,"height":1991},{"questions":6125,"_type":45},[6126],{"question":6127,"answer":6128},"\u003Cp>How does your relationship with chemistry influence your designs?\u003C\u002Fp>\n","\u003Cp>never learned chemistry, especially curiosity and random moves. The colors are obtained because of the acidity and PH reaction. With lemon juice for example for the pink color. I had experimented with salt and other natural things, alway obtaining surprising results, but the reserche never finished.\u003C\u002Fp>\n",{"variant":64,"images":6130,"_type":73},[6131,6133],{"_id":352,"url":6132,"alt":18,"caption":18,"credit":18,"width":276,"height":5294},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-4.jpg",{"_id":6134,"url":6135,"alt":18,"caption":18,"credit":18,"width":276,"height":5294},1142,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-4.jpg",{"questions":6137,"_type":45},[6138],{"question":6139,"answer":6140},"\u003Cp>Have you found a musical rhythm or soundtrack that matches the way you work?\u003C\u002Fp>\n","\u003Cp>I love so much listening Sofiane Pamart and classics music, depend my mood, I love the japanese disco from 80s as well!\u003C\u002Fp>\n",{"questions":6142,"_type":45},[6143],{"question":6144,"answer":6145},"\u003Cp>What is the most meditative part of your process?\u003C\u002Fp>\n","\u003Cp>All of the process is very meditative but I guess the most meditative part is when I assemble all of the peels, one by one. It’s a really meditative and slow process.\u003C\u002Fp>\n",{"images":6147,"size":56,"_type":57},[6148],{"_id":6149,"url":6150,"alt":18,"caption":18,"credit":18,"width":2803,"height":6112},1143,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11-4.jpg",{"questions":6152,"_type":45},[6153],{"question":6154,"answer":6155},"\u003Cp>What’s your personal definition of “sustainable innovation”?\u003C\u002Fp>\n","\u003Cp>For me, it’s about using a material whose potential we’d never have imagined. It opens people’s minds to imagine that it’s possible to make fabrics from eggplant peelings. And even more so if it’s a natural, biodegradable material.\u003C\u002Fp>\n",{"images":6157,"size":56,"_type":57},[6158],{"_id":6159,"url":6160,"alt":18,"caption":18,"credit":18,"width":2149,"height":2634},1148,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F15.jpg",{"questions":6162,"_type":45},[6163],{"question":6164,"answer":6165},"\u003Cp>How does light transform your work, and do you design with that in mind?\u003C\u002Fp>\n","\u003Cp>My materials react like stained glass, and with the light against them, the colors are more vivid and vibrant. And there’s an unconscious link with my first name, which means light in Spanish (Lumi). It’s a playful nod to my practice, which revolves essentially around light.\u003C\u002Fp>\n",{"variant":1116,"images":6167,"_type":73},[6168,6171],{"_id":6169,"url":6170,"alt":18,"caption":18,"credit":18,"width":2149,"height":6112},1145,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F12-2.jpg",{"_id":6172,"url":6173,"alt":18,"caption":18,"credit":18,"width":2149,"height":6112},1146,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F14-1.jpg",{"questions":6175,"_type":45},[6176],{"question":6177,"answer":6178},"\u003Cp>Which unexpected material are you curious to experiment with next?\u003C\u002Fp>\n","\u003Cp>Why not others vegetables peels ! For the moment I’m focusing on eggplant peels but in the future why not think about mixing eggplant and others. For the moment I’m working with glass to assemble my precious surfaces.\u003C\u002Fp>\n",{"images":6180,"size":84,"_type":57},[6181],{"_id":6182,"url":6183,"alt":18,"caption":18,"credit":18,"width":4427,"height":1991},1144,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F9-2.jpg",{"questions":6185,"_type":45},[6186],{"question":638,"answer":6187},"\u003Cp>on instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fprecious_peels_\u002F?hl=en\">@precious_peels_\u003C\u002Fa>\u003Cbr \u002F>\nOr directly on appointment in my workshop in Brussels (\u003Ca href=\"https:\u002F\u002Fwww.zaventemateliers.com\">Zaventem Ateliers\u003C\u002Fa>).\u003Cbr \u002F>\nIn Paris my samples are available at \u003Ca href=\"https:\u002F\u002Fwww.adele-collections.com\">Adèle Collections\u003C\u002Fa> on appointment as well.\u003C\u002Fp>\n",{"_type":6,"_id":6189,"slug":6190,"name":6191,"index":6192,"date":6193,"thumbnails":6194,"description":18,"footerImage":6202,"categories":6206,"sections":6208},557,"michan-architecture","Michan Architecture",47,"2025-06-17",{"quote":6195,"main":6196,"secondary":6201,"reverse":24},"\u003Cp>“Each project becomes a way to test a hypothesis. Sometimes spatial, sometimes structural, sometimes cultural.”\u003C\u002Fp>\n",{"image":6197,"background":137,"fit":56},{"_id":6198,"url":6199,"alt":18,"caption":18,"credit":18,"width":6070,"height":6200},558,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fmain-3.jpg",771,{"image":24,"background":21,"fit":22},{"_id":6203,"url":6204,"alt":18,"caption":18,"credit":18,"width":6205,"height":5607},559,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Ffooter-5.jpg",745,[6207],{"_id":644,"slug":1883,"name":1884},[6209,6214,6219,6225,6230,6235,6240,6248,6253,6259,6264,6268,6273,6278,6283,6288,6292,6297,6302,6306,6311],{"questions":6210,"_type":45},[6211],{"question":6212,"answer":6213},"\u003Cp>What are your names and where are you from\u002F based?\u003C\u002Fp>\n","\u003Cp>Isaac Michan Daniel and Alexandra Bove. We’re based in Mexico City, where Michan Architecture is also located.\u003C\u002Fp>\n",{"questions":6215,"_type":45},[6216],{"question":6217,"answer":6218},"\u003Cp>Can you describe Michan Architecture in a few words?\u003C\u002Fp>\n","\u003Cp>Speculative, curious, and precise.\u003C\u002Fp>\n",{"images":6220,"size":84,"_type":57},[6221],{"_id":6222,"url":6223,"alt":18,"caption":18,"credit":18,"width":6224,"height":2634},1149,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-5.jpg",1192,{"questions":6226,"_type":45},[6227],{"question":6228,"answer":6229},"\u003Cp>You describe your practice as a laboratory. What does experimentation look like in your architectural process?\u003C\u002Fp>\n","\u003Cp>Experimentation means pushing the limits of form and material through drawing, prototyping, and building. Each project becomes a way to test a hypothesis. Sometimes spatial, sometimes structural, sometimes cultural.\u003C\u002Fp>\n",{"images":6231,"size":84,"_type":57},[6232],{"_id":6233,"url":6234,"alt":18,"caption":18,"credit":18,"width":6224,"height":2634},1150,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-5.jpg",{"questions":6236,"_type":45},[6237],{"question":6238,"answer":6239},"\u003Cp>What does “misbehaving material” mean to you? Can you give an example of this?\u003C\u002Fp>\n","\u003Cp>It’s when a material glitches, either by performing unexpectedly or by revealing a character of its own, leading us toward unforeseen results. For example, we’ve experimented with terrazzo by creating the effect of extruding each stone vertically when it hits a wall, creating a kind of tectonic disruption. We’ve also explored cast-in-place concrete using varied formworks and textures to challenge its usual surface language.\u003C\u002Fp>\n",{"variant":1116,"images":6241,"_type":73},[6242,6245],{"_id":6243,"url":6244,"alt":18,"caption":18,"credit":18,"width":4904,"height":2665},1151,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4-5.jpg",{"_id":6246,"url":6247,"alt":18,"caption":18,"credit":18,"width":4904,"height":2665},1152,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-5.jpg",{"questions":6249,"_type":45},[6250],{"question":6251,"answer":6252},"\u003Cp>How do you define “context” in your practice? Does it begin with geography, culture, history, or something else entirely?\u003C\u002Fp>\n","\u003Cp>Context isn’t only geographic, it’s also temporal and conceptual. It involves reading the site as a set of constraints and opportunities while also engaging with broader cultural and architectural narratives.\u003C\u002Fp>\n",{"images":6254,"size":56,"_type":57},[6255],{"_id":6256,"url":6257,"alt":18,"caption":18,"credit":18,"width":4904,"height":6258},1153,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-4.jpg",1370,{"questions":6260,"_type":45},[6261],{"question":6262,"answer":6263},"\u003Cp>What kind of spaces do you hope to leave behind—socially, aesthetically, or conceptually?\u003C\u002Fp>\n","\u003Cp>Spaces that provoke curiosity. Spaces that can be read in multiple ways and remain open-ended in how they’re used or understood.\u003C\u002Fp>\n",{"images":6265,"size":84,"_type":57},[6266],{"_id":1369,"url":6267,"alt":18,"caption":18,"credit":18,"width":4904,"height":1092},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7-4.jpg",{"questions":6269,"_type":45},[6270],{"question":6271,"answer":6272},"\u003Cp>Is there an object in your home that you can’t quite pinpoint where it came from, but decided to keep anyway?\u003C\u002Fp>\n","\u003Cp>Yes, there’s a small concrete object, a failed cast, that reminds us how accidents can open up new possibilities. We kept it because it invites speculation.\u003C\u002Fp>\n",{"questions":6274,"_type":45},[6275],{"question":6276,"answer":6277},"\u003Cp>When you design objects, are you thinking in architectural terms—structure, mass, proportion—or do you take a different approach?\u003C\u002Fp>\n","\u003Cp>Not exactly. We usually start in a very intuitive way, and then iterate and curate. At some point, the project starts to develop a logic of its own.\u003C\u002Fp>\n",{"images":6279,"size":56,"_type":57},[6280],{"_id":6281,"url":6282,"alt":18,"caption":18,"credit":18,"width":1689,"height":3615},1155,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FFoto-21-05-25-2-34-43-pm-1-1.jpg",{"questions":6284,"_type":45},[6285],{"question":6286,"answer":6287},"\u003Cp>Can you tell us about a project that challenged your usual way of working or thinking?\u003C\u002Fp>\n","\u003Cp>Working on public projects has reshaped the way we approach architecture. It’s about addressing the collective while still being attentive to the individual experience.\u003C\u002Fp>\n",{"images":6289,"size":56,"_type":57},[6290],{"_id":6070,"url":6291,"alt":18,"caption":18,"credit":18,"width":355,"height":1092},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-5.jpg",{"questions":6293,"_type":45},[6294],{"question":6295,"answer":6296},"\u003Cp>If your practice had a soundtrack, what kind of music would it be?\u003C\u002Fp>\n","\u003Cp>It depends on the context. We try to be subtle but maintain certain values. It can be from RAP to Indie Rock of electronic.\u003C\u002Fp>\n",{"questions":6298,"_type":45},[6299],{"question":6300,"answer":6301},"\u003Cp>Across projects, you seem to challenge traditional ideas of a façade. What does that mean to you?\u003C\u002Fp>\n","\u003Cp>We see the façade as more than just a surface. It’s a way to express depth, ambiguity, or contradiction. In some projects we question the façade, in others it’s the program, the material logic, or something else entirely.\u003C\u002Fp>\n",{"images":6303,"size":84,"_type":57},[6304],{"_id":703,"url":6305,"alt":18,"caption":18,"credit":18,"width":6224,"height":2634},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1-4.jpg",{"questions":6307,"_type":45},[6308],{"question":6309,"answer":6310},"\u003Cp>Is there a ritual or habit that helps you stay grounded?\u003C\u002Fp>\n","\u003Cp>Drawing by hand or digitally and listening to music.\u003C\u002Fp>\n",{"questions":6312,"_type":45},[6313],{"question":638,"answer":6314},"\u003Cp>Instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmichanarchitecture\u002F?hl=en\">@michanarchitecture\u003C\u002Fa>\u003Cbr \u002F>\nWebsite: \u003Ca href=\"https:\u002F\u002Fmichanarchitecture.com\">michanarchitecture.com\u003C\u002Fa>\u003Cbr \u002F>\nStudio: Cerrada Monte Líbano 11C, Lomas de Chapultepec, 11000, Mexico City\u003C\u002Fp>\n",{"_type":6,"_id":6316,"slug":6317,"name":6318,"index":6319,"date":6320,"thumbnails":6321,"description":18,"footerImage":6331,"categories":6334,"sections":6336},561,"moss","MOSS",48,"2025-06-20",{"quote":6322,"main":6323,"secondary":6327,"reverse":24},"\u003Cp>“When you start breaking down each process into smaller bits, nothing is so daunting anymore.”\u003C\u002Fp>\n",{"image":6324,"background":21,"fit":139},{"_id":6325,"url":6326,"alt":18,"caption":18,"credit":18,"width":6205,"height":5607},2641,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FMain-4-edit.jpg",{"image":6328,"background":137,"fit":22},{"_id":6329,"url":6330,"alt":18,"caption":18,"credit":18,"width":6222,"height":3664},565,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fmain-2-2.jpg",{"_id":6332,"url":6333,"alt":18,"caption":18,"credit":18,"width":6205,"height":5607},563,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Ffoorter.jpg",[6335],{"_id":33,"slug":34,"name":35},[6337,6342,6346,6354,6359,6367,6372,6380,6385,6390,6400,6405,6411,6416,6424,6429,6437,6442,6450,6455,6463,6468,6477],{"questions":6338,"_type":45},[6339],{"question":6340,"answer":6341},"\u003Cp>What are your names and where are you from\u002FBased?\u003C\u002Fp>\n","\u003Cp>We are Madeleine Duflot, from Strasbourg in France, and Lewis Baxter from Canterbury, England. We met in London in 2021 and quickly started creating things together. We recently moved to Berlin.\u003C\u002Fp>\n",{"questions":6343,"_type":45},[6344],{"question":2426,"answer":6345},"\u003Cp>We make objects and furniture, and recently started to do interiors, which comes quite naturally as we like to imagine our pieces in space. It’s great to be able to complement the picture, or even to create it entirely. Our work is often colourful, simple and playful. We also enjoy making things ourselves, hands-on, beyond the prototype stage.\u003C\u002Fp>\n",{"variant":1179,"images":6347,"_type":73},[6348,6351],{"_id":6349,"url":6350,"alt":18,"caption":18,"credit":18,"width":355,"height":4059},1159,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1-5.jpg",{"_id":6352,"url":6353,"alt":18,"caption":18,"credit":18,"width":355,"height":4059},1160,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-6.jpg",{"questions":6355,"_type":45},[6356],{"question":6357,"answer":6358},"\u003Cp>Where did the name Moss come from and how did it come to be?\u003C\u002Fp>\n","\u003Cp>Madeleine: We were actually struggling to find a name and kept trying different words for a while. Lewis then came across ‘moss’ and it sounded right to both of us. To me ‘moss’ is reminiscent of my childhood in the countryside. There were always lots of rocks covered in moss, and at Easter my sisters and I would scrape off some to decorate tiny houses we were building for the easter bunny. I also like its materiality – it’s soft, spongy, and can grow anywhere. It makes nature comfy.\u003C\u002Fp>\n",{"variant":1179,"images":6360,"_type":73},[6361,6364],{"_id":1221,"url":6362,"alt":18,"caption":18,"credit":18,"width":6363,"height":4059},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-6.jpg",1366,{"_id":6365,"url":6366,"alt":18,"caption":18,"credit":18,"width":6363,"height":4059},1162,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4-6.jpg",{"questions":6368,"_type":45},[6369],{"question":6370,"answer":6371},"\u003Cp>Can you talk a bit about your project Alsatian Gite?\u003C\u002Fp>\n","\u003Cp>Madeleine: Before moving from London to Berlin, we spent around 9 months in Alsace, where I’m from. We had the opportunity to renovate an old ‘gîte’ – a guest house – that my grandma used to run, as part of a farm. It was amazing to have this freedom to reimagine the whole space, and to do everything ourselves; to have the time to learn a lot of new skills.\u003Cbr \u002F>\nLewis: It was like taking it from the past and waking it up, loads of time spent sanding and exposing the original wooden structure that had been covered up in various ways. We were lucky that it could be salvaged and made to look very fresh, in the end it’s kind of a modern space but still feels close to its history.\u003C\u002Fp>\n",{"variant":1116,"images":6373,"_type":73},[6374,6377],{"_id":6375,"url":6376,"alt":18,"caption":18,"credit":18,"width":6363,"height":4059},1163,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-5.jpg",{"_id":6378,"url":6379,"alt":18,"caption":18,"credit":18,"width":6363,"height":4059},1164,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-6.jpg",{"images":6381,"size":56,"_type":57},[6382],{"_id":6383,"url":6384,"alt":18,"caption":18,"credit":18,"width":6363,"height":4059},1165,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7-5.jpg",{"questions":6386,"_type":45},[6387],{"question":6388,"answer":6389},"\u003Cp>Your furniture has a touch of fun and unique detailing, how do you decide when to add your unique touches?\u003C\u002Fp>\n","\u003Cp>Lewis: I feel like we often build around the unique touches, for example the Gite chair we had the idea to do these cast aluminium brackets between the seat and the backrest. We casted them from a model and were trying to make them as interesting as possible through the finishing process, then the difficult part was making a chair around it. Also for the Patti lamps we were just very motivated to put text on to clay. Then Madeleine explored some shapes with the coil technique that she had learned about some time ago.\u003C\u002Fp>\n",{"variant":64,"images":6391,"_type":73},[6392,6397],{"_id":6393,"url":6394,"alt":18,"caption":18,"credit":18,"width":6395,"height":6396},1166,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-6.jpg",1239,1836,{"_id":6398,"url":6399,"alt":18,"caption":18,"credit":18,"width":6395,"height":6396},1167,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F9-3.jpg",{"questions":6401,"_type":45},[6402],{"question":6403,"answer":6404},"\u003Cp>The pewter Love Home Dish is re-melted and re-shaped multiple times. How does that cycle of destruction and creation reflect in your wider practice?\u003C\u002Fp>\n","\u003Cp>Madeleine: We often don’t overthink pre-production. We have an idea, and we are excited to immediately see some kind of physical thing, and it often results in lots of trials. In fact, there are also many materials that are very malleable, that can be reshaped many times, so it gives us a lot of space to explore ideas by making. And we like to embrace parts of the outcomes that were unexpected, or learn about new possibilities that way.\u003C\u002Fp>\n",{"images":6406,"size":84,"_type":57},[6407],{"_id":6408,"url":6409,"alt":18,"caption":18,"credit":18,"width":6395,"height":6410},1168,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F10-4.jpg",1187,{"questions":6412,"_type":45},[6413],{"question":6414,"answer":6415},"\u003Cp>How did you balance honoring Alsace’s regional identity with your contemporary aesthetic?\u003C\u002Fp>\n","\u003Cp>Madeleine: To keep the place true to itself, we upcycled lots of the original, quality material that was on-site. For example, we needed to insulate the place, and there was wainscoting all around the main room, which was solid wood we removed and kept to make a long built-in bench and some chairs. Also, when looking for inspiration, we would always look first into the traditions of the region – sandstone, kelsch patterns, linen cloth, half-timbered houses… We also visited the Alsatian museum where you can see rooms of old houses exactly how they used to be layed out, with the original furniture. Then it was all about incorporating these details we gathered into our designs, and not necessarily where you would expect them.\u003C\u002Fp>\n",{"variant":176,"images":6417,"_type":73},[6418,6422],{"_id":6419,"url":6420,"alt":18,"caption":18,"credit":18,"width":6421,"height":2847},1169,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11-5.jpg",1191,{"_id":136,"url":6423,"alt":18,"caption":18,"credit":18,"width":6363,"height":4059},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-6.jpg",{"questions":6425,"_type":45},[6426],{"question":6427,"answer":6428},"\u003Cp>What is each of your favorite pieces?\u003C\u002Fp>\n","\u003Cp>Madeleine: I think I really like the F2s, which are resin bases with built-in kenzans for flower arrangements. They are our first pieces, and actually also the most difficult to make! It was a long journey to achieve the perfect mould and cast. But I appreciate that it’s an unusual yet simple object, and that it invites people to be creative with it in their homes.\u003Cbr \u002F>\nLewis: The chairs! Because they are so basic but I think kind of fancy. Also we made the choice to finish the wood in this heavy dark varnish which I think is not so in keeping with current design, so in the end they’re difficult to place chronologically. The wood structure itself is very to the point, and the aluminium is so particular that in the end they are quite uncanny.\u003C\u002Fp>\n",{"variant":1179,"images":6430,"_type":73},[6431,6435],{"_id":6432,"url":6433,"alt":18,"caption":18,"credit":18,"width":662,"height":6434},1171,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F12-3.jpg",1625,{"_id":4515,"url":6436,"alt":18,"caption":18,"credit":18,"width":662,"height":6434},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F13-1.jpg",{"questions":6438,"_type":45},[6439],{"question":6440,"answer":6441},"\u003Cp>What’s an important lesson you’ve learnt from each other in your practice?\u003C\u002Fp>\n","\u003Cp>Lewis: Sometimes in your head something is going in one direction and all of a sudden it can become something that you alone couldn’t have thought of, then its nice to have contributed to something that feels more universal than your personal approach.\u003Cbr \u002F>\nMadeleine: Yeah, working together means not being too hung up on one idea even when it felt obvious in your mind, and trusting the other person’s vision too. We have slightly different styles but they actually combine very well. Although sometimes it’s okay that one of us takes the lead on a project.\u003C\u002Fp>\n",{"variant":64,"images":6443,"_type":73},[6444,6447],{"_id":1917,"url":6445,"alt":18,"caption":18,"credit":18,"width":662,"height":6446},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F14-2.jpg",1445,{"_id":6448,"url":6449,"alt":18,"caption":18,"credit":18,"width":662,"height":6446},1174,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F15-1.jpg",{"questions":6451,"_type":45},[6452],{"question":6453,"answer":6454},"\u003Cp>Which piece from the gîte pushed your technical and creative skills the most?\u003C\u002Fp>\n","\u003Cp>Madeleine: It’s good to see that when you start breaking down each process into smaller bits, nothing is so daunting anymore. Maybe the most rewarding technically for me was to build the sofa from scratch – first the structure, then the upholstery. I also enjoyed making the tiles for the kitchen backsplash. It was the first task every morning for a few months – make two sheets of tiles and let them dry throughout the day, until there was finally enough to put up on the wall and create the blue kelsch pattern.\u003Cbr \u002F>\nLewis: Redoing all of the electricity although it wasn’t so creative. Luckily a neighbour in the village was a retired electrician and helped with some of the complicated stuff. We gifted him a box of Ferrero Rocher.\u003C\u002Fp>\n",{"variant":1179,"images":6456,"_type":73},[6457,6459],{"_id":5441,"url":6458,"alt":18,"caption":18,"credit":18,"width":662,"height":6446},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F16.jpg",{"_id":6460,"url":6461,"alt":18,"caption":18,"credit":18,"width":6462,"height":6446},1176,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F17.jpg",1927,{"questions":6464,"_type":45},[6465],{"question":6466,"answer":6467},"\u003Cp>What’s next for Moss?\u003C\u002Fp>\n","\u003Cp>We’re starting to see a nice collection of objects and furniture coming together, so it would be great to go and present it all at some design events next year, especially in Milan for Salone del Mobile. Until then, we will keep exploring – we recently discovered a new material that is really fun to use, thermoplastic. We are also quite drawn to make ceramic and glass tableware.\u003C\u002Fp>\n",{"variant":176,"images":6469,"_type":73},[6470,6475],{"_id":6471,"url":6472,"alt":18,"caption":18,"credit":18,"width":6473,"height":6474},1177,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F18.jpg",1683,2501,{"_id":374,"url":6476,"alt":18,"caption":18,"credit":18,"width":6473,"height":6474},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F19.jpg",{"questions":6478,"_type":45},[6479],{"question":638,"answer":6480},"\u003Cp>We will be in Berlin for a while, making a few bespoke kitchens, and we have an interior project coming up in September in Kavarna, Bulgaria, that we are very excited about. You can always see what we are up to on our page \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmoss.duo\u002F?hl=en\">@moss.duo\u003C\u002Fa> and\u003Cbr \u002F>\nwe also have an online shop \u003Ca href=\"https:\u002F\u002Fmossstore.bigcartel.com\">here \u003C\u002Fa>where some of our pieces are available.\u003C\u002Fp>\n",{"_type":6,"_id":6482,"slug":6483,"name":6484,"index":6485,"date":6486,"thumbnails":6487,"description":18,"footerImage":6497,"categories":6502,"sections":6504},570,"omar-bey","Omar Bey",49,"2025-06-22",{"quote":6488,"main":6489,"secondary":6493,"reverse":24},"\u003Cp>“Creation almost always involves a struggle!”\u003C\u002Fp>\n",{"image":6490,"background":21,"fit":139},{"_id":6491,"url":6492,"alt":18,"caption":18,"credit":18,"width":3089,"height":3075},2639,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fmain-2-3-edit-3.jpg",{"image":6494,"background":137,"fit":22},{"_id":4953,"url":6495,"alt":18,"caption":18,"credit":18,"width":6496,"height":4776},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002FUntitled-2-6.jpg",1454,{"_id":6498,"url":6499,"alt":18,"caption":18,"credit":18,"width":6500,"height":6501},573,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Ffooter-6.jpg",1241,1855,[6503],{"_id":127,"slug":146,"name":147},[6505,6512,6520,6531,6539,6548,6556,6561,6569,6577,6585,6590,6598,6605,6613,6617,6625,6630,6638,6643,6651,6656,6664],{"questions":6506,"_type":45},[6507,6510],{"question":6508,"answer":6509},"\u003Cp>Comment vous appelez-vous et où êtes-vous basé?\u003C\u002Fp>\n","\u003Cp>Omar bey , je vis et travail à Tunis, Tunisie.\u003C\u002Fp>\n",{"question":1319,"answer":6511},"\u003Cp>Omar bey, I live and work in Tunis, Tunisia.\u003C\u002Fp>\n",{"questions":6513,"_type":45},[6514,6517],{"question":6515,"answer":6516},"\u003Cp>Pouvez-vous décrire ce que vous faites ?\u003C\u002Fp>\n","\u003Cp>Je m’exprime et retranscris mes “états d’âme” en utilisant différents matériaux pour réaliser des œuvres “palpables”.\u003C\u002Fp>\n",{"question":6518,"answer":6519},"\u003Cp>Can you describe what you do ?\u003C\u002Fp>\n","\u003Cp>I express myself and translate my ‘states of mind’ using different materials to\u003Cbr \u002F>\ncreate ‘tangible’ works.\u003C\u002Fp>\n",{"first":6521,"second":6524,"third":6528,"variant":94,"_type":206},{"_id":6522,"url":6523,"alt":18,"caption":18,"credit":18,"width":6473,"height":6474},1180,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F1-6.jpg",{"_id":6525,"url":6526,"alt":18,"caption":18,"credit":18,"width":109,"height":6527},1181,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F2-7.jpg",1457,{"_id":6529,"url":6530,"alt":18,"caption":18,"credit":18,"width":109,"height":838},1182,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F3-7.jpg",{"questions":6532,"_type":45},[6533,6536],{"question":6534,"answer":6535},"\u003Cp>Vous vous êtes décrit comme un “contrastiviste.” Que signifie ce mot pour vous, en pratique et en philosophie?\u003C\u002Fp>\n","\u003Cp>Le concept de « contrastiviste » implique 2 notions fondamentales : Excès et Equilibre. Transcrire l’équilibre des choses à travers une radicalité balancée par une autre. Autant dans les matériaux utilisés (par exemple le papier versus le béton) que dans l’idée suggérée (par exemple une famille soudée et aimante représentée en “bombes artisanales” (voir « Barbaboom »)), laissant le champ de la “vérité” ouvert à 360°.\u003C\u002Fp>\n",{"question":6537,"answer":6538},"\u003Cp>You’ve referred to yourself as a “contastivist.” What does that word mean to you in practice and philosophy?\u003C\u002Fp>\n","\u003Cp>The concept of ‘contrastivist’ involves two fundamental notions: excess and balance. Its about expressing the balance of things through one radicality offset by another, whether in the materials used (for example, paper versus concrete) or in the ideas suggested (for example, a united and loving family represented as ‘homemade bombs’) see barbaboom, leaving the notion of truth open in 360 .\u003C\u002Fp>\n",{"variant":1116,"images":6540,"_type":73},[6541,6544],{"_id":6542,"url":6543,"alt":18,"caption":18,"credit":18,"width":5677,"height":3158},1183,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F4-7.jpg",{"_id":6545,"url":6546,"alt":18,"caption":18,"credit":18,"width":6547,"height":3158},1184,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F5-7.jpg",583,{"questions":6549,"_type":45},[6550,6553],{"question":6551,"answer":6552},"\u003Cp>Avez-vous toujours été attiré par le travail a travers des differents médiums, ou y a-t-il eu un moment qui vous a poussé vers cette ouverture?\u003C\u002Fp>\n","\u003Cp>Pour moi le medium utilisé n’est qu’un moyen ! C’est l’idée qui engendre l’utilisation du medium adéquat et non l’inverse, impliquant le rejet de l’idée de virtuosité, d’une maitrise d’un matériau en particulier. Ceci me vient sans doute de mon expérience de décorateur de cinéma ou j’ai appris à utiliser différents matériaux (plâtre, bois, métal, …).\u003C\u002Fp>\n",{"question":6554,"answer":6555},"\u003Cp>Have you always been drawn to working across different media, or was there a moment that pushed you toward that openness?\u003C\u002Fp>\n","\u003Cp>For me, the medium used is just a means! It’s the idea that leads to the use of\u003Cbr \u002F>\nthe appropriate medium, not the other way around, implying a rejection of the\u003Cbr \u002F>\nnotion of virtuosity or mastery of a particular material. This no doubt comes\u003Cbr \u002F>\nfrom my experience as a film set designer, where I learned t o work with various\u003Cbr \u002F>\nmaterials (plaster, wood, metal, etc.).\u003C\u002Fp>\n",{"images":6557,"size":84,"_type":57},[6558],{"_id":6559,"url":6560,"alt":18,"caption":18,"credit":18,"width":6547,"height":1329},1185,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F6-7.jpg",{"questions":6562,"_type":45},[6563,6566],{"question":6564,"answer":6565},"\u003Cp>Comment votre identité personnelle e t votre expérience en grandissant en\u003Cbr \u002F>\nTunisie ont – elles influencé votre travail ? Que ce soit de manière directe ou\u003Cbr \u002F>\nplus subtile ?\u003C\u002Fp>\n","\u003Cp>La Tunisie, mon pays natal, à toujours était, par sa situation géographique et son histoire, une terre d’ouverture, d’accueil et d e transmission ! Où les différentes influences Méditerranéenne, Africaine, Berbère, européenne ouarabo musulman ont ancré dans la société tunisienne, entre autres, une culture du consensus teinté d’une forme de fatalisme ironique ! Mon travail est sans nul doute inscrit dans cette manière de percevoir les choses !\u003C\u002Fp>\n",{"question":6567,"answer":6568},"\u003Cp>How does your personal identity and experience growing up in Tunisia\u003Cbr \u002F>\ninfluenced your work? Whether directly or in more subtle ways?\u003C\u002Fp>\n","\u003Cp>Tunisia, my native country, has always been, due to its geographical location and history, a land  of openness, hospitality, and transmission! Where the various Mediterranean, African, Berber, European, or Arab-Muslim influences have, among other things, embedded in Tunisian society a culture of consensus tinged with a form of ironic fatalism! My work is undoubtedly rooted in this way of perceiving things!\u003C\u002Fp>\n",{"variant":1179,"images":6570,"_type":73},[6571,6575],{"_id":6572,"url":6573,"alt":18,"caption":18,"credit":18,"width":109,"height":6574},1186,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F7-6.jpg",1474,{"_id":6410,"url":6576,"alt":18,"caption":18,"credit":18,"width":109,"height":6574},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F8-7.jpg",{"questions":6578,"_type":45},[6579,6582],{"question":6580,"answer":6581},"\u003Cp>Contre quoi résistez-vous o u remettez-vous e n question dans votre\u003Cbr \u002F>\npratique ?\u003C\u002Fp>\n","\u003Cp>La question fondamentale dans mon travail est la notion de Liberté, sous toutes ces formes… politique, sociale, culturelle ou religieuse.\u003C\u002Fp>\n",{"question":6583,"answer":6584},"\u003Cp>What are you resisting or questioning in your practice?\u003C\u002Fp>\n","\u003Cp>The fundamental question in my work is the notion of freedom, in all its forms… political, social, cultural, sexual or religious.”\u003C\u002Fp>\n",{"images":6586,"size":56,"_type":57},[6587],{"_id":2124,"url":6588,"alt":18,"caption":18,"credit":18,"width":5788,"height":6589},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F9-4.jpg",1284,{"questions":6591,"_type":45},[6592,6595],{"question":6593,"answer":6594},"\u003Cp>Votre travail est riche en symbolisme, souhaitez-vous qu’il soit d’abord compris ou simplement aperçu par le spectateur?\u003C\u002Fp>\n","\u003Cp>Il est très important pour moi de me faire comprendre par le spectateur. Mon travail est d’abord un moyen de communication\u003C\u002Fp>\n",{"question":6596,"answer":6597},"\u003Cp>Your work is rich in symbolism, do you want your work to be understood or seen first by the viewer?\u003C\u002Fp>\n","\u003Cp>Its very important to me to be understood by the viewer. Above all, my work is a method of communication.\u003C\u002Fp>\n",{"images":6599,"size":139,"_type":57},[6600],{"_id":6601,"url":6602,"alt":18,"caption":18,"credit":18,"width":6603,"height":6604},1189,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F10-5.jpg",2054,1426,{"questions":6606,"_type":45},[6607,6610],{"question":6608,"answer":6609},"\u003Cp>À propos de compréhension, y-a-t’il un spectateur qui a partagé son interpretation de votre travail d’une manière qui vous a touché ou marqué?\u003C\u002Fp>\n","\u003Cp>Bien sûr, la compréhension par « l’autre » de mes œuvres est essentielle. Ma démarche est toujours inscrite dans un dialogue, dans un questionnement…jamais dans une affirmation.\u003C\u002Fp>\n",{"question":6611,"answer":6612},"\u003Cp>Speaking of understanding, has a viewer ever offered their personal understanding of your work that moved you or stayed with you?\u003C\u002Fp>\n","\u003Cp>Of course, the understanding of my work by the other is essential. My approach is always rooted in dialogue, in questioning… never in assertion.\u003C\u002Fp>\n",{"images":6614,"size":84,"_type":57},[6615],{"_id":1748,"url":6616,"alt":18,"caption":18,"credit":18,"width":6496,"height":4776},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002Fmain-2-4.jpg",{"questions":6618,"_type":45},[6619,6622],{"question":6620,"answer":6621},"\u003Cp>Y a-t-il une oéuvre avec laquelle vous avez eu du mal, que ce soit techniquement ou émotionellement?\u003C\u002Fp>\n","\u003Cp>La création implique presque toujours une lutte ! Parfois avec le matériau lui-même mais surtout dans l’équilibre même de la représentation de l’idée.\u003C\u002Fp>\n",{"question":6623,"answer":6624},"\u003Cp>Has there been a piece you struggled with, either emotionally or technically?\u003C\u002Fp>\n","\u003Cp>Creation almost always involves a struggle! Sometimes with the material itself, but above all in achieving balance in the representation of the idea.\u003C\u002Fp>\n",{"images":6626,"size":56,"_type":57},[6627],{"_id":6421,"url":6628,"alt":18,"caption":18,"credit":18,"width":6629,"height":6604},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F11-6.jpg",1456,{"questions":6631,"_type":45},[6632,6635],{"question":6633,"answer":6634},"\u003Cp>Comment choisissez-vous les matériaux avec lesquels vous travaillez ?\u003Cbr \u002F>\nViennent-ils par hasard ou est-ce que vous les choisissez toujours de manière intentionnelle ?\u003C\u002Fp>\n","\u003Cp>C’est en concrétisant mon idée que les matériaux s’imposent d’eux même mais il m’arrive aussi de récupérer des « éléments déchets » trouvés dans la rue ou sur la plage qui peuvent inspirer une œuvre à venir.\u003C\u002Fp>\n",{"question":6636,"answer":6637},"\u003Cp>How do you choose the materials you work with? Do they come to you by chance, or are you always choosing with intention?\u003C\u002Fp>\n","\u003Cp>It’s by realizing my idea that allows the materials impose themselves, but I also sometimes collect ‘discarded materials’ found in the street or on the beach that can inspire a future work.\u003C\u002Fp>\n",{"images":6639,"size":56,"_type":57},[6640],{"_id":6224,"url":6641,"alt":18,"caption":18,"credit":18,"width":6642,"height":6604},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F12-4.jpg",2154,{"questions":6644,"_type":45},[6645,6648],{"question":6646,"answer":6647},"\u003Cp>Quelle est la dernière chose que vous avez trouvée et qui vous a fait penser\u003Cbr \u002F>\n“je dois créer quelque chose avec ça” ?\u003C\u002Fp>\n","\u003Cp>La dernière fois qu’un matériau c’est imposé de lui-même, c’était un sommier métallique transformé en perchoir H.L.M. pour une population d’oiseaux métalliques figée dans leur immobilisme.\u003C\u002Fp>\n",{"question":6649,"answer":6650},"\u003Cp>What’s the last thing you found that made you think, “I need to make something with this”?\u003C\u002Fp>\n","\u003Cp>The last time a material imposed itself on me, it was a metal bedspring transformed into a housing-project-style perch for a population of metallic birds frozen in their immobility.\u003C\u002Fp>\n",{"images":6652,"size":56,"_type":57},[6653],{"_id":6654,"url":6655,"alt":18,"caption":18,"credit":18,"width":898,"height":6604},1194,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F03\u002F14-3.jpg",{"questions":6657,"_type":45},[6658,6661],{"question":6659,"answer":6660},"\u003Cp>Est-ce que vous collectionnez des objets pour vous-même ?\u003C\u002Fp>\n","\u003Cp>Je suis un petit collectionneur d’œuvres de mes amis artistes tunisiens et internationaux et, assez récemment, je m’intéresse beaucoup aux céramiques et poteries de la région de Séjnéne (village au nord de la Tunisie). Céramiques classées aux patrimoine mondial de l’UNESCO, réalisés exclusivement par les femmes du village…Magnifique !\u003C\u002Fp>\n",{"question":6662,"answer":6663},"\u003Cp>Do you collect anything for yourself?\u003C\u002Fp>\n","\u003Cp>I collect works by my Tunisian and international artist friends, and more recently, I’ve become very interested in the ceramics and pottery from the region of Sejnane (a village in northern Tunisia). These ceramics are listed as UNESCO World Heritage and are made exclusively by the women of the village… Magnificent!\u003C\u002Fp>\n",{"questions":6665,"_type":45},[6666,6669],{"question":6667,"answer":6668},"\u003Cp>Ou peut on vous trouver?\u003C\u002Fp>\n","\u003Cp>Mon atelier se trouve sur la plage de La Goulette (banlieue nord de Tunis) et mon travail peut être vu sur mon compte Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fomarbey.art\u002F?hl=en\">« omar bey »\u003C\u002Fa>\u003C\u002Fp>\n",{"question":6670,"answer":6671},"\u003Cp>Where can we find you?\u003C\u002Fp>\n","\u003Cp>My studio is located on the beach of La Goulette (a northern suberb of tunis) and my work can be seen on my instagram account \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fomarbey.art\u002F?hl=en\">Omarbey \u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":6673,"slug":6674,"name":6675,"index":6676,"date":6677,"thumbnails":6678,"description":18,"footerImage":6685,"categories":6688,"sections":6690},1196,"elizabeth-charnock","Elizabeth Charnock",50,"2025-06-24",{"quote":6679,"main":6680,"secondary":6684,"reverse":24},"\u003Cp>“My work deals with unrealities and serves as my own escape into a different world”\u003C\u002Fp>\n",{"image":6681,"background":21,"fit":22},{"_id":6682,"url":6683,"alt":18,"caption":18,"credit":18,"width":1876,"height":3044},1199,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1.jpg",{"image":24,"background":21,"fit":22},{"_id":6686,"url":6687,"alt":18,"caption":18,"credit":18,"width":898,"height":3044},1197,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FFooter.jpg",[6689],{"_id":127,"slug":146,"name":147},[6691,6695,6699,6706,6711,6717,6722,6728,6733,6741,6746,6751,6756,6761,6766,6771,6779,6784],{"questions":6692,"_type":45},[6693],{"question":4203,"answer":6694},"\u003Cp>My name is Elizabeth Charnock, I’m originally from Shropshire in the UK but have lived and worked in Berlin for the last ten years.\u003C\u002Fp>\n",{"questions":6696,"_type":45},[6697],{"question":2426,"answer":6698},"\u003Cp>I am a painter, sculptor and video artist. I work primarily with ink on paper and ceramics. I create semi-fictional, scaled-down environments, capturing moments “in-between” – snapshots of tranquility before or after human activity. My work explores ideas of isolation, longing, familiarity and distance.\u003C\u002Fp>\n",{"variant":1179,"images":6700,"_type":73},[6701,6704],{"_id":6702,"url":6703,"alt":18,"caption":18,"credit":18,"width":1876,"height":3044},1198,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FMain.jpg",{"_id":653,"url":6705,"alt":18,"caption":18,"credit":18,"width":1876,"height":3044},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2.jpg",{"questions":6707,"_type":45},[6708],{"question":6709,"answer":6710},"\u003Cp>Your work often captures ‘the built environment and urban planning ideologies,’ what draws you to these spaces?\u003C\u002Fp>\n","\u003Cp>I spend a lot of time observing details of spaces that we inhabit and questioning how they function. When I moved to Dresden in the East of Germany in 2013 for my Master’s, I encountered postwar city planning on a large scale and became interested in how people interact within modernist developments. I was struck by disproportionate or non-functional elements, like vast, unused front gardens outside Plattenbau blocks or evergreen trees planted so close that they block the light from the windows. These details highlight a disconnect between planning and use and I think that’s what draws me to them. Through drawing and sculpture, I try to assess these spaces from a distance, creating imagined realities that aim to explore how environments shape our sense of self, belonging, and lived experience.\u003C\u002Fp>\n",{"images":6712,"size":56,"_type":57},[6713],{"_id":6714,"url":6715,"alt":18,"caption":18,"credit":18,"width":1876,"height":6716},1201,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3.jpg",1541,{"questions":6718,"_type":45},[6719],{"question":6720,"answer":6721},"\u003Cp>You work with various materials, What draws you to a particular medium for a project, and how does the choice of material influence the narrative of the piece?\u003C\u002Fp>\n","\u003Cp>I’m drawn to ink because it allows me to gradually build up depth and detail. It’s a delicate medium, and that delicacy helps create the dream-like quality of some of my pieces. Ink is also unforgiving, it dries quickly and the layers are permanent, so I plan each piece carefully, often doing several drafts before the final version. Working with such precision in a process that requires careful attention is calming, almost like meditation.\u003Cbr \u002F>\nThere’s a constant dialogue between my drawings and models. One often leads to the other, and that back-and-forth is a central part of my process. In my ceramic sculptures of empty swimming pools, for example, I set out to translate earlier drawings into three-dimensional form. The texture and flexibility of clay let me shape uniform structures with sharp contrasts: smooth surfaces alongside hard edges. I use underglaze to apply matte, pastel tones that create flat planes of color, aiming to mirror the tonal mood of my drawings.\u003C\u002Fp>\n",{"variant":1116,"images":6723,"_type":73},[6724,6726],{"_id":1308,"url":6725,"alt":18,"caption":18,"credit":18,"width":1876,"height":6716},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4.jpg",{"_id":2105,"url":6727,"alt":18,"caption":18,"credit":18,"width":1876,"height":6716},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5.jpg",{"questions":6729,"_type":45},[6730],{"question":6731,"answer":6732},"\u003Cp>How do your observations of real-world architecture and cityscapes influence your fictional compositions?\u003C\u002Fp>\n","\u003Cp>I take photographs and use these as references to draw from, recently focussing on analogue photography. Often I create new, fictional scenes from multiple elements of different photographs, found imagery and videos. I have also been trying out some AI tools lately to help me with composition creation.\u003C\u002Fp>\n",{"variant":1179,"images":6734,"_type":73},[6735,6738],{"_id":6736,"url":6737,"alt":18,"caption":18,"credit":18,"width":1876,"height":6716},1204,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6.jpg",{"_id":6739,"url":6740,"alt":18,"caption":18,"credit":18,"width":1876,"height":6716},1205,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7.jpg",{"questions":6742,"_type":45},[6743],{"question":6744,"answer":6745},"\u003Cp>There’s a sense of tranquility and isolation in many of your pieces. Are you exploring specific emotions or narratives through these serene yet solitary scenes?\u003C\u002Fp>\n","\u003Cp>I think loneliness is something many people feel in big cities, maybe more now than ever. My work deals with unrealities and serves as my own escape into a different world. Often, I draw from an aerial perspective – scaling the scene down and making it feel distant and intangible. This distance and the absence of human figures gives the work a calm, quiet feeling, like a paused moment on a film set. I think that’s why my pieces can be seen as warm and inviting, even cute, yet there’s also a sense of alienation that happens through the impossibility of ever reaching the world they depict.\u003C\u002Fp>\n",{"images":6747,"size":84,"_type":57},[6748],{"_id":4696,"url":6749,"alt":18,"caption":18,"credit":18,"width":6750,"height":6716},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8.jpg",2060,{"questions":6752,"_type":45},[6753],{"question":6754,"answer":6755},"\u003Cp>Do you think your imagined spaces are utopian, dystopian, or somewhere in between?\u003C\u002Fp>\n","\u003Cp>In my earlier pieces, which portrayed entire fictional cities and towns, this question came up a lot. I never set out to make a particular statement and I don’t think it was ever something I really considered one way or the other. Yet the influence of dystopian fiction and film is definitely there, and seeped in whether consciously or not. I suppose because there is no clear narrative about how these fictional spaces are used by people, it’s natural for viewers to draw their own conclusions.\u003C\u002Fp>\n",{"questions":6757,"_type":45},[6758],{"question":6759,"answer":6760},"\u003Cp>In your ‘Plasti-City’ series, you created detailed models of imagined urban spaces. What inspired this project?\u003C\u002Fp>\n","\u003Cp>The Plasti-City series was inspired by my own cityscape drawings, which I used as blueprints to create sets of miniature, coloured building blocks hand-cast from resin. At exhibitions, I displayed example models constructed from these sets, which were also available for purchase.  Collectors who acquired all the sets could build the entire city or experiment with different versions.\u003Cbr \u002F>\nThis project played with the ideas of Le Corbusier’s concept of modularity, focusing on a standardized system of measurements and proportions to design buildings and spaces that are functional, harmonious, and capable of being combined into various configurations.\u003Cbr \u002F>\nIn essence, I created a simplified, non-functional iteration of a classic architectural process. Instead of drawing leading to a full-scale building, the model itself became the final product. I find something compelling in this failure to realize the work at full scale. By remaining miniature, the city exists perpetually in a dream-like state, an architectural possibility rather than a reality.\u003C\u002Fp>\n",{"images":6762,"size":84,"_type":57},[6763],{"_id":6764,"url":6765,"alt":18,"caption":18,"credit":18,"width":6750,"height":1646},1207,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9.jpg",{"questions":6767,"_type":45},[6768],{"question":6769,"answer":6770},"\u003Cp>How do you approach curating your exhibitions to enhance the narrative of your work?\u003C\u002Fp>\n","\u003Cp>In a recent show, I collaborated closely with a curator to combine sculpture, video, lighting and sound into an immersive installation piece. My goal is always to build an atmosphere that amplifies a sense of isolation, allowing visitors to fully engage with the reality I construct.\u003C\u002Fp>\n",{"variant":1179,"images":6772,"_type":73},[6773,6776],{"_id":2301,"url":6774,"alt":18,"caption":18,"credit":18,"width":6750,"height":6775},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10.jpg",1267,{"_id":5104,"url":6777,"alt":18,"caption":18,"credit":18,"width":6750,"height":6778},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11.jpg",1413,{"questions":6780,"_type":45},[6781],{"question":6782,"answer":6783},"\u003Cp>If one of your works were to be turned into a film, what genre would it be?\u003C\u002Fp>\n","\u003Cp>Probably a found footage observational documentary.\u003C\u002Fp>\n",{"questions":6785,"_type":45},[6786],{"question":638,"answer":6787},"\u003Cp>People can find me at my studio in Berlin, on instagram as \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Felizabethcharnock\u002F\">@elizabethcharnock\u003C\u002Fa> and online at \u003Ca href=\"http:\u002F\u002Fwww.elizabethcharnock.com\">www.elizabethcharnock.com\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":6789,"slug":6790,"name":6791,"index":6792,"date":6793,"thumbnails":6794,"description":18,"footerImage":6802,"categories":6805,"sections":6807},1211,"sercetvir","SERCETVIR",51,"2025-06-26",{"quote":6795,"main":6796,"secondary":6801,"reverse":24},"\u003Cp>“I believe that working with such materials can help mediate a connection between our past and present”\u003C\u002Fp>\n",{"image":6797,"background":21,"fit":139},{"_id":6798,"url":6799,"alt":18,"caption":18,"credit":18,"width":5069,"height":6800},2824,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F51-head.jpg",2248,{"image":24,"background":21,"fit":22},{"_id":6803,"url":6804,"alt":18,"caption":18,"credit":18,"width":6750,"height":6778},1212,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-1.jpg",[6806],{"_id":33,"slug":34,"name":35},[6808,6812,6816,6822,6827,6837,6842,6847,6852,6857,6862,6867,6872,6878,6883,6890,6895,6900,6905,6910,6915,6920],{"questions":6809,"_type":45},[6810],{"question":1319,"answer":6811},"\u003Cp>Hi! My name is Ivana Poliakova. I’m an artist and a founder of a project Sercetvir.\u003Cbr \u002F>\nI’m based in Odesa, Ukraine.\u003C\u002Fp>\n",{"questions":6813,"_type":45},[6814],{"question":2426,"answer":6815},"\u003Cp>My practice focuses on handcrafted, one-of-a-kind stoneware pieces. I ground my work in cultural and historical research, often leaning into the recreation and reinterpretation of traditional forms.\u003C\u002Fp>\n",{"images":6817,"size":84,"_type":57},[6818],{"_id":6819,"url":6820,"alt":18,"caption":18,"credit":18,"width":6821,"height":2766},1214,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-1.jpg",1059,{"questions":6823,"_type":45},[6824],{"question":6825,"answer":6826},"\u003Cp>What was the moment that led to the birth of Sercetvir?\u003C\u002Fp>\n","\u003Cp>There wasn’t a single defining moment that led to the birth of Sercetvir. It came together gradually — shaped by time, practice, and a growing sense of clarity about the project and its intentions. I first came to ceramics in 2019. With no formal art education — my academic background is in philosophy — I felt a deep certainty that this is the work I’m meant to do. I had explored various creative mediums before, but working with clay felt grounding and meaningful in a way I couldn’t ignore. I didn’t have a full vision of what I was building at first — that clarity took shape over the years\u003Cbr \u002F>\nthrough steady work and research.\u003C\u002Fp>\n",{"variant":1179,"images":6828,"_type":73},[6829,6833],{"_id":6830,"url":6831,"alt":18,"caption":18,"credit":18,"width":6832,"height":3555},1215,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-1.jpg",938,{"_id":6834,"url":6835,"alt":18,"caption":18,"credit":18,"width":6836,"height":3555},1216,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-1.jpg",1833,{"questions":6838,"_type":45},[6839],{"question":6840,"answer":6841},"\u003Cp>‘Serce’ meaning heart and ‘tvir’ meaning creation combines beautifully. What does making from the heart mean to you?\u003C\u002Fp>\n","\u003Cp>When I was looking for a name for the project I came up with this word Sercetvir which I believe reflects perfectly my intention to create meaningful, heartfelt objects. It suggests the act of crafting with deep emotional connection and sincerity. I believe people are truly happy when they can dedicate themselves to something they love. And for me, Sercetvir is the result of choosing that path intentionally and wholeheartedly.\u003C\u002Fp>\n",{"images":6843,"size":56,"_type":57},[6844],{"_id":6845,"url":6846,"alt":18,"caption":18,"credit":18,"width":4014,"height":3555},1217,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-1.jpg",{"questions":6848,"_type":45},[6849],{"question":6850,"answer":6851},"\u003Cp>Why ceramics? What is it about clay that continues to draw you in?\u003C\u002Fp>\n","\u003Cp>Clay is a basic, widely available local material. It carries a long history of use and holds its own narratives and traces. It contains artifacts that are relevant to many different time periods. I believe that working with such materials can help mediate a connection between our past and present — and potentially open a path toward the future.\u003C\u002Fp>\n",{"images":6853,"size":84,"_type":57},[6854],{"_id":6855,"url":6856,"alt":18,"caption":18,"credit":18,"width":4014,"height":3555},1220,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-1.jpg",{"questions":6858,"_type":45},[6859],{"question":6860,"answer":6861},"\u003Cp>In what ways does Ukrainian craft history show up in your pieces, is it subtle or explicit?\u003C\u002Fp>\n","\u003Cp>I’m drawn to traditional forms — they’ve stood the test of time, often shaped by function and purpose. When I speak of the ceramic tradition in Ukraine, I don’t just mean the folk pottery of the early modern period, which is usually referred to as “traditional Ukrainian ceramics.” I also think of the ceramics of Kyivan Rus, the Trypillian culture, and even ancient Greek pottery found on the territory of present-day Ukraine. I like tracing the continuity of forms — how they migrate from one culture to another, carrying meaning and evolving while remaining\u003Cbr \u002F>\nrecognizable. One of the more distinctive traits that connects my work to Ukrainian tradition is my love for surface ornamentation. I often decorate pieces with motifs inspired by traditional Ukrainian decorative patterns — the kind found not only on household objects, but also painted on houses or embroidered onto clothing. These are often floral motifs, like the tree of life, or symbolic elements such as hearts, crosses, and so on. I think there’s a trace of magical thinking in that — the belief that like attracts like: if you surround yourself with symbols of gardens, fertility, and beauty, you might invite abundance into your life.\u003C\u002Fp>\n",{"images":6863,"size":56,"_type":57},[6864],{"_id":6865,"url":6866,"alt":18,"caption":18,"credit":18,"width":6821,"height":6778},1213,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-1.jpg",{"questions":6868,"_type":45},[6869],{"question":6870,"answer":6871},"\u003Cp>Can you tell us about a piece that felt especially personal to create?\u003C\u002Fp>\n","\u003Cp>I approach my pieces with a certain sentimental attachment and tenderness, as each one is handcrafted by me. Especially when working on larger pieces you have to invest your time and resources into them, since the hand building stage alone can take several weeks. It feels personal to witness how the piece gradually embodies itself, growing layer by layer.\u003C\u002Fp>\n",{"images":6873,"size":84,"_type":57},[6874],{"_id":6875,"url":6876,"alt":18,"caption":18,"credit":18,"width":1815,"height":6877},1225,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13.jpg",2358,{"questions":6879,"_type":45},[6880],{"question":6881,"answer":6882},"\u003Cp>How do you imagine Sercetvir evolving, as a practice or as a platform for heritage revival?\u003C\u002Fp>\n","\u003Cp>I believe that culture lives while it’s practiced, so I’m not sure if revival is the right word. I like to think of my practice as a continuation of the long craft tradition. For me, Sercetvir is a personal world I’ve built with care. In recent years, I’ve focused on creating a fully self-sufficient studio with all the necessary equipment, which allows me to work independently and sustainably. I deeply value the freedom this space gives me. I don’t have plans to expand Sercetvir beyond a one-artist practice. In our uneasy reality, what matters most to me is the chance to continue working — to stay close to the material and to evolve in my own rhythm.\u003C\u002Fp>\n",{"variant":1179,"images":6884,"_type":73},[6885,6888],{"_id":6886,"url":6887,"alt":18,"caption":18,"credit":18,"width":4014,"height":3555},1218,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-1.jpg",{"_id":3479,"url":6889,"alt":18,"caption":18,"credit":18,"width":4014,"height":3555},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-1.jpg",{"questions":6891,"_type":45},[6892],{"question":6893,"answer":6894},"\u003Cp>Is there a piece you’ll never be able to part with?\u003C\u002Fp>\n","\u003Cp>I don’t tend to hold on to pieces — I’m always grateful when my pieces find their homes and become part of someone’s space and daily routine. I feel it’s a natural fulfillment of their purpose — to be used, to serve, and ideally to be cherished long enough to become a kind of family heirloom.\u003C\u002Fp>\n",{"images":6896,"size":56,"_type":57},[6897],{"_id":6898,"url":6899,"alt":18,"caption":18,"credit":18,"width":4014,"height":3555},1222,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-1.jpg",{"questions":6901,"_type":45},[6902],{"question":6903,"answer":6904},"\u003Cp>Have you ever created an object with someone specific in mind, even if they never received it?\u003C\u002Fp>\n","\u003Cp>My process rarely starts with a particular person in mind. I tend to focus on the specifics of the material, the form, its narrative and functionality. But of course, many of my close ones have received my pieces as gifts over the years. There’s something tender and almost childlike about that — like giving someone a handmade card. It’s a quiet way of sharing a part of myself through what I make.\u003C\u002Fp>\n",{"images":6906,"size":56,"_type":57},[6907],{"_id":6908,"url":6909,"alt":18,"caption":18,"credit":18,"width":4059,"height":528},1226,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F855491ce2ed9536e000fa474a8ef0563.jpg",{"questions":6911,"_type":45},[6912],{"question":6913,"answer":6914},"\u003Cp>What parts of your process do people never see but are essential to the piece?\u003C\u002Fp>\n","\u003Cp>Many parts of my process happen behind the scenes and often go unnoticed, as people usually encounter my work through catalogues of finished pieces. But working with clay is a slow, multi-stage journey. It can take weeks or even months to see the final result, and each stage carries its own risks and demands. That’s why I like to share more about the working process itself. I consider every aspect of it equally important — from concept design to packing orders. Every layer of the process carries the same care and intention.\u003C\u002Fp>\n",{"images":6916,"size":56,"_type":57},[6917],{"_id":6918,"url":6919,"alt":18,"caption":18,"credit":18,"width":1815,"height":3555},1223,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12.jpg",{"questions":6921,"_type":45},[6922],{"question":638,"answer":6923},"\u003Cp>My work is presented on Apoc Store and Ap0cene platforms. It’s also available\u003Cbr \u002F>\nfor the purchase directly through my instagram or by visiting my studio in Odesa.\u003Cbr \u002F>\nWe’re currently working on launching my personal site. And hopefully I’ll have an\u003Cbr \u002F>\nupcoming announcement of my first personal exhibition.\u003C\u002Fp>\n",{"_type":6,"_id":6925,"slug":6926,"name":6927,"index":6928,"date":6929,"thumbnails":6930,"description":18,"footerImage":6937,"categories":6942,"sections":6944},1227,"ricardo-marcus-burt","Ricardo Marcus Burt",52,"2025-06-28",{"quote":6931,"main":6932,"secondary":6936,"reverse":24},"\u003Cp>“Clothes are not just something we wear, they come around with us – on first dates, gallery’s, family dinners, holidays and adventures that shape us.”\u003C\u002Fp>\n",{"image":6933,"background":21,"fit":22},{"_id":2500,"url":6934,"alt":18,"caption":18,"credit":18,"width":1815,"height":6935},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-2.jpg",1496,{"image":24,"background":21,"fit":22},{"_id":6938,"url":6939,"alt":18,"caption":18,"credit":18,"width":6940,"height":6941},1229,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-2.jpg",1506,2187,[6943],{"_id":240,"slug":2416,"name":2417},[6945,6950,6954,6960,6965,6975,6980,6985,6990,7000,7005,7013,7018,7022,7027,7032,7037],{"questions":6946,"_type":45},[6947],{"question":6948,"answer":6949},"\u003Cp>Whats your name and where are you from\u002FBased?\u003C\u002Fp>\n","\u003Cp>Hey my name is Ricardo Marcus Burt and I’m from Devon but based in London. It feels like home now.\u003C\u002Fp>\n",{"questions":6951,"_type":45},[6952],{"question":2426,"answer":6953},"\u003Cp>I’m a designer and creative focusing on fields of art direction and storytelling through fashion.\u003C\u002Fp>\n",{"images":6955,"size":56,"_type":57},[6956],{"_id":6957,"url":6958,"alt":18,"caption":18,"credit":18,"width":6940,"height":6959},1230,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-2.jpg",2012,{"questions":6961,"_type":45},[6962],{"question":6963,"answer":6964},"\u003Cp>What led you to the title “Music is a Weapon”?\u003C\u002Fp>\n","\u003Cp>It’s from a Fela Kuti track and in short, it is supposed to make you think about the power of music. However to me it runs a bit deeper than that, when I was younger in Lockdown and around Black Lives Matter a close friend – Kate Rudman put me onto Gil Scott heron – the revolution will not be televised. Gil in my opinion made protest music and used his skills to empower and amplify the black liberation movement. He stuck it to the man! For me Gils music along with Syl Johnson, the sugar hill gang and Public enemy really spoke to me. Actually it fired me up and I felt so proud to be black. Music had that power, just like certain clothes do when I put them on. From there on I’ve always seen how it’s soundtracked my life and been that deep rooted force firing me forward. So music is a weapon, it’s a lifeline, it’s the embodiment of power and strength.\u003C\u002Fp>\n",{"variant":1116,"images":6966,"_type":73},[6967,6971],{"_id":6968,"url":6969,"alt":18,"caption":18,"credit":18,"width":6940,"height":6970},1231,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-2.jpg",1784,{"_id":6972,"url":6973,"alt":18,"caption":18,"credit":18,"width":6974,"height":3643},1232,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-2.jpg",1617,{"questions":6976,"_type":45},[6977],{"question":6978,"answer":6979},"\u003Cp>This collection is a culmination of three years. What changed or deepened for you over that time?\u003C\u002Fp>\n","\u003Cp>I think the way I expressed deeper thoughts and explored subjects that the world presented deepened over the time and allowed me to express them through garments in a better more nuanced way. Over the years I started to see my work through a curated lens which meant the smallest detail was thought over, considered , changed and re drawn. The garments are walking breathing conversations. In my first year I very much put prints onto garments and the prints said something, the graphics explored feelings of drowning on land- the sea being this force that cuts of progressive views and actions. My exhibitions were large and slightly all over the place making an impact straight away. However now the impact hits the closer you get. From the paper you touch, the font you read, the angle of the clothes to the combination of seams and where they are- everything is thought about and explored. I think now after three years the journey when experiencing my work starts from the moment you enter the space to the moment you leave- it’s more long lasting. A bit like music, it’s always with you, so why can’t my work do the same feeling if that is what I’m referencing. I also think I know myself better now, I’m starting to really know what feels like me; fabrics,buttons, colours etc.\u003C\u002Fp>\n",{"images":6981,"size":84,"_type":57},[6982],{"_id":1778,"url":6983,"alt":18,"caption":18,"credit":18,"width":6984,"height":509},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-2.jpg",1556,{"questions":6986,"_type":45},[6987],{"question":6988,"answer":6989},"\u003Cp>You mention the creases behind trousers from sitting too long, what draws you to these quiet, lived-in details?\u003C\u002Fp>\n","\u003Cp>I think that’s exactly the point, they’re lived in. From the first day I started making garments I’ve always told people to wear them to death, stain and breathe in them. It’s so nice to see a pristine garment but in the end that is all it is, it’s perfect and polished like a great work of art. But where is its soul, where is the journey or the life. Exploring creases and literally printing “made to be worn” into my garments is a real declaration of how I intend my work to live in this world. I own clothes that I had when I bought when I was 14 with the money I earnt from working with my radio station. They’ve been over washed, worn and slightly marked by pen or paint. I still wear them to this day, because they almost age like fine wine.\u003C\u002Fp>\n\u003Cp>Actually there’s a garment I made with cut up shirt sleeves and it’s been through everything with me, I still get compliments on it today. It means more than a new polished piece of clothing that is too nice to wear.\u003C\u002Fp>\n\u003Cp>Clothes are not just something we wear, they come around with us – on first dates, gallery’s, family dinners, holidays and adventures that shape us. I think they’re just as sentimental as photographs so it’s strange we treat them differently and discard them so quickly or refuse to wear them more than once. If I could I’d love to live in my memories.\u003C\u002Fp>\n",{"variant":1116,"images":6991,"_type":73},[6992,6997],{"_id":6993,"url":6994,"alt":18,"caption":18,"credit":18,"width":6995,"height":6996},1234,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-2.jpg",1495,1983,{"_id":6998,"url":6999,"alt":18,"caption":18,"credit":18,"width":6995,"height":6996},1235,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-2.jpg",{"questions":7001,"_type":45},[7002],{"question":7003,"answer":7004},"\u003Cp>Did you find yourself uncovering any overlooked cultural references during your research?\u003C\u002Fp>\n","\u003Cp>I think discovering more deeply about how you cannot define jazz music and you have to resort to the technicality of its syncopation. Syncopation patterns that originated from slave hymns , I don’t know whether that is overlooked or just under researched. Music is so powerful and has a very deep rooted history of its own and to us as human beings – yet it is still seen as being a passive product. These origins of jazz music did make me reevaluate how I see sound and my favourite genres’ true origins.\u003C\u002Fp>\n",{"variant":1116,"images":7006,"_type":73},[7007,7010],{"_id":7008,"url":7009,"alt":18,"caption":18,"credit":18,"width":6995,"height":6996},1236,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-2.jpg",{"_id":7011,"url":7012,"alt":18,"caption":18,"credit":18,"width":6995,"height":6996},1237,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-1.jpg",{"questions":7014,"_type":45},[7015],{"question":7016,"answer":7017},"\u003Cp>Is there a piece in the collection that feels most personal or emotionally charged to you?\u003C\u002Fp>\n","\u003Cp>For me it’s the Irish linen and screen printed jacket with a double collar and raglan sleeve detail. It makes me emotional to think about it because the garment pattern of the jacket was created by my best friend – Lydia Paget. It was the second year of university and we were living together in our London home. She’s incredible at pattern cutting and can really see my vision and intention when designing. So we worked together to execute my vision. I used that same pattern a year later for this collection and when I look at the jacket it doesn’t just remind me of her. It reminds me of the countless friends who have been involved in my journey, the hands, the support and the criticism. All which push me further to be better, to really make a mark in this creative world which is full of noise. To be here, to be speaking to you today is down to so many people who have supported me, I love them all!\u003C\u002Fp>\n",{"images":7019,"size":56,"_type":57},[7020],{"_id":6112,"url":7021,"alt":18,"caption":18,"credit":18,"width":6995,"height":6996},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-1.jpg",{"questions":7023,"_type":45},[7024],{"question":7025,"answer":7026},"\u003Cp>How do you situate your work within the wider landscape of menswear?\u003C\u002Fp>\n","\u003Cp>That’s a tricky one because I think I can’t see myself not producing work or making an effort to explain and further my point. I think menswear as a whole is very safe but rich in history, many of my favourite menswear designers don’t exactly push the boundaries of what fashion is but they push your knowledge on what you see the garment as. I think within menswear I like to be this creative, whose work is intrinsic to me but also my research is baked in. It’s curated work to make your brain think deeper. Rooted firmly in black research and developed throughout every angle and piece. I guess rather than shake up the menswear scene, I want to sit within it as one of the trusted meaningful ones, you know if you’re coming to me you’re getting research, reason and intention behind every thought and detail. I’m not chasing short term wins rather long term steady intentional impact.\u003C\u002Fp>\n",{"images":7028,"size":7031,"_type":57},[7029],{"_id":6395,"url":7030,"alt":18,"caption":18,"credit":18,"width":6995,"height":5911},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14.jpg","extra-large",{"questions":7033,"_type":45},[7034],{"question":7035,"answer":7036},"\u003Cp>What’s next for you creatively or personally?\u003C\u002Fp>\n","\u003Cp>I would love to know that too! I never know what is coming round the corner but as long as I am facing and moving forward, I’m happy!\u003C\u002Fp>\n",{"questions":7038,"_type":45},[7039],{"question":638,"answer":7040},"\u003Cp>Soo I’m on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fricardomarcusburt\u002F\">@ricardomarcusburt\u003C\u002Fa> and the brands page is @marcus__burt . I’ve got a lil portfolio too & many Spotify playlists\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fricardomarcusburt\u002F\">www.ricardomarcusburt.com\u003C\u002Fa> .\u003C\u002Fp>\n",{"_type":6,"_id":6500,"slug":7042,"name":7043,"index":7044,"date":7045,"thumbnails":7046,"description":18,"footerImage":7054,"categories":7056,"sections":7058},"millim-studio","Millim Studio",53,"2025-07-01",{"quote":7047,"main":7048,"secondary":7053,"reverse":24},"\u003Cp>“for us, for the culture of design, and for the people who will live with these objects.”\u003C\u002Fp>\n",{"image":7049,"background":21,"fit":139},{"_id":7050,"url":7051,"alt":18,"caption":18,"credit":18,"width":6995,"height":7052},2634,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-3-edit.jpg",1892,{"image":24,"background":21,"fit":22},{"_id":1963,"url":7055,"alt":18,"caption":18,"credit":18,"width":6995,"height":7052},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-3.jpg",[7057],{"_id":33,"slug":34,"name":35},[7059,7064,7068,7076,7081,7089,7094,7101,7106,7111,7116,7125,7130,7137,7142,7146,7151,7155,7160,7165,7174,7179,7185],{"questions":7060,"_type":45},[7061],{"question":7062,"answer":7063},"\u003Cp>What’s your name and where are you from \u002F based?\u003C\u002Fp>\n","\u003Cp>We’re Chiara and Edoardo — together we are Millim Studio, founded in 2016 and based in Rome, Italy.\u003C\u002Fp>\n",{"questions":7065,"_type":45},[7066],{"question":2426,"answer":7067},"\u003Cp>We work in research-driven and collectible design, with a strong focus on process, materials, and storytelling.\u003C\u002Fp>\n",{"variant":1179,"images":7069,"_type":73},[7070,7073],{"_id":7071,"url":7072,"alt":18,"caption":18,"credit":18,"width":6995,"height":6256},1244,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-3.jpg",{"_id":7074,"url":7075,"alt":18,"caption":18,"credit":18,"width":6995,"height":6256},1245,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-3.jpg",{"questions":7077,"_type":45},[7078],{"question":7079,"answer":7080},"\u003Cp>How did the two of you meet, and what made you decide to start Millim together?\u003C\u002Fp>\n","\u003Cp>We met during our studies and later worked together for a few years at a design studio. We decided to found Millim Studio when we realized we shared the same vision of design.\u003C\u002Fp>\n",{"variant":1116,"images":7082,"_type":73},[7083,7087],{"_id":7084,"url":7085,"alt":18,"caption":18,"credit":18,"width":1244,"height":7086},1246,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-3.jpg",2041,{"_id":5677,"url":7088,"alt":18,"caption":18,"credit":18,"width":1244,"height":7086},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-3.jpg",{"questions":7090,"_type":45},[7091],{"question":7092,"answer":7093},"\u003Cp>How do your individual backgrounds influence the studio’s vision? Where do you complement or challenge one another?\u003C\u002Fp>\n","\u003Cp>Our individual backgrounds mainly shape the language and outcomes of our work. We have very different approaches and methods, but over time we’ve developed a workflow that embraces these differences and integrates them into our projects. We complement each other in terms of skills, and we challenge each other in terms of vision — always trying to push our research further.\u003C\u002Fp>\n",{"variant":1179,"images":7095,"_type":73},[7096,7099],{"_id":7097,"url":7098,"alt":18,"caption":18,"credit":18,"width":1244,"height":7086},1248,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-3.jpg",{"_id":801,"url":7100,"alt":18,"caption":18,"credit":18,"width":1244,"height":7086},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-2.jpg",{"questions":7102,"_type":45},[7103],{"question":7104,"answer":7105},"\u003Cp>Your works explore material experimentation, cultural expression, and conceptual design, what draws you to each?\u003C\u002Fp>\n","\u003Cp>What these three aspects have in common is the need to chart new paths and bring valuable meaning to the work. We’re drawn to the idea of combining them to create something original and meaningful — for us, for the culture of design, and for the people who will live with these objects.\u003C\u002Fp>\n",{"images":7107,"size":84,"_type":57},[7108],{"_id":7109,"url":7110,"alt":18,"caption":18,"credit":18,"width":1244,"height":3679},1250,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-3.jpg",{"questions":7112,"_type":45},[7113],{"question":7114,"answer":7115},"\u003Cp>Is there a specific piece that holds a personal memory or story no one really knows about?\u003C\u002Fp>\n","\u003Cp>Yes — Marbelicious. It was the first collection we created from scratch after becoming parents. That period holds a lot of personal memories. What’s funny is that during its development, our daughter was very small and always with us — so in many of our archive photos from that time, you can spot little Olimpia, who was just 6 months old back then.\u003C\u002Fp>\n",{"variant":1179,"images":7117,"_type":73},[7118,7122],{"_id":7119,"url":7120,"alt":18,"caption":18,"credit":18,"width":7121,"height":6819},1251,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-2.jpg",1601,{"_id":7123,"url":7124,"alt":18,"caption":18,"credit":18,"width":7121,"height":6819},1252,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-3.jpg",{"questions":7126,"_type":45},[7127],{"question":7128,"answer":7129},"\u003Cp>You often speak of “resonance” between form and content, what does this feel like when it’s achieved?\u003C\u002Fp>\n","\u003Cp>Peace! That’s when we know a project is truly working. It makes us happy.\u003C\u002Fp>\n",{"images":7131,"size":84,"_type":57},[7132],{"_id":7133,"url":7134,"alt":18,"caption":18,"credit":18,"width":7135,"height":7136},1256,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15.jpg",1027,674,{"questions":7138,"_type":45},[7139],{"question":7140,"answer":7141},"\u003Cp>Do your objects always need to “do” something, or are some of them just meant to be looked at and felt?\u003C\u002Fp>\n","\u003Cp>We were taught that for something to be called “design,” it must do something — but within that “doing” we absolutely include intangible qualities as well.\u003C\u002Fp>\n",{"images":7143,"size":84,"_type":57},[7144],{"_id":3363,"url":7145,"alt":18,"caption":18,"credit":18,"width":7135,"height":3476},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-1.jpg",{"questions":7147,"_type":45},[7148],{"question":7149,"answer":7150},"\u003Cp>Is there a specific piece that made you see a material differently for the first time?\u003C\u002Fp>\n","\u003Cp>Yes — among our works, the Miscellaneous collection was the one that made us approach marble not as designers, but as sculptors. In order to work with it by hand, we had to forget what we knew and learn to read the material in a completely new way.\u003C\u002Fp>\n",{"images":7152,"size":56,"_type":57},[7153],{"_id":375,"url":7154,"alt":18,"caption":18,"credit":18,"width":7135,"height":6716},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-2.jpg",{"images":7156,"size":56,"_type":57},[7157],{"_id":7158,"url":7159,"alt":18,"caption":18,"credit":18,"width":7135,"height":6716},1254,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-2.jpg",{"questions":7161,"_type":45},[7162],{"question":7163,"answer":7164},"\u003Cp>Do you approach an exhibition like storytelling? If so, what kind of story are you usually trying to tell?\u003C\u002Fp>\n","\u003Cp>When it comes to solo exhibitions, we see them as an opportunity to amplify concepts and invite the audience into the process behind the project.\u003C\u002Fp>\n",{"variant":1179,"images":7166,"_type":73},[7167,7170],{"_id":4926,"url":7168,"alt":18,"caption":18,"credit":18,"width":136,"height":7169},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FIMG_7534-copia.jpg",2064,{"_id":7171,"url":7172,"alt":18,"caption":18,"credit":18,"width":136,"height":7173},1258,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FIMG_7533.jpeg",2072,{"questions":7175,"_type":45},[7176],{"question":7177,"answer":7178},"\u003Cp>Are there certain things you do that inspire your creativity without pressure?\u003C\u002Fp>\n","\u003Cp>Probably many everyday activities fuel our creativity unconsciously — but we’re most aware of it when we enter our daughter’s world: drawing, playing with clay, inventing stories. We also draw great inspiration from contemporary art exhibitions — we visit many, and we always leave feeling enriched.\u003C\u002Fp>\n",{"images":7180,"size":56,"_type":57},[7181],{"_id":7182,"url":7183,"alt":18,"caption":18,"credit":18,"width":7184,"height":7136},1259,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F16.jpg",423,{"questions":7186,"_type":45},[7187],{"question":638,"answer":7188},"\u003Cp>Our studio in Rome is always open — come visit! Otherwise, you can find us on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmillimstudio\u002F\">@millimstudio\u003C\u002Fa> or at\u003Cbr \u002F>\n\u003Ca href=\"http:\u002F\u002Fwww.millimstudio.com\">www.millimstudio.com\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":7190,"slug":7191,"name":7192,"index":7193,"date":7194,"thumbnails":7195,"description":18,"footerImage":7202,"categories":7206,"sections":7208},1261,"massimo-magee","Massimo Magee",54,"2025-07-03",{"quote":7196,"main":7197,"secondary":7201,"reverse":24},"\u003Cp>“In an algorithmic, marketised world that tries to tell us that all options have already been calculated and worked out ahead of time, I think that’s a useful little rebellion.”\u003C\u002Fp>\n",{"image":7198,"background":21,"fit":22},{"_id":7199,"url":7200,"alt":18,"caption":18,"credit":18,"width":1600,"height":1503},2666,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FMASSIMO.jpg",{"image":24,"background":21,"fit":22},{"_id":7203,"url":7204,"alt":18,"caption":18,"credit":18,"width":2172,"height":7205},1263,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F441161451_8234925699868445_6544318051202107019_n.jpg",1365,[7207],{"_id":127,"slug":146,"name":147},[7209,7213,7217,7222,7227,7232,7237,7242,7247,7254,7259,7264,7268,7273,7278,7283],{"questions":7210,"_type":45},[7211],{"question":4203,"answer":7212},"\u003Cp>My name is Massimo Magee and I’m based in London.\u003C\u002Fp>\n",{"questions":7214,"_type":45},[7215],{"question":2426,"answer":7216},"\u003Cp>I’m a multimedia artist, writer and experimental musician. Among other things, I create audiovisual fine art pieces of what I call Audiovisual Digital Abstraction, which involves the creation of art objects, using digital techniques, that are designed to be read by the computer as both a visual still image and as a piece of audio, these being two readings of the same file in each case. These are often presented physically, usually on aluminium but sometimes using other materials, with the audio reading either playing in the exhibition space or accessible to listeners via QR code or on headphones.\u003C\u002Fp>\n",{"images":7218,"size":56,"_type":57},[7219],{"_id":7220,"url":7221,"alt":18,"caption":18,"credit":18,"width":5220,"height":3185},1264,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-4.jpg",{"questions":7223,"_type":45},[7224],{"question":7225,"answer":7226},"\u003Cp>For someone unfamiliar with audiovisual digital art, how would you explain how your process works?\u003C\u002Fp>\n","\u003Cp>Usually, I begin by gathering a base of audiovisual colour data to start the piece off. This can involve choosing colours, shapes, gradients or other similar starting points, all made out of audiovisual data. I then transform this base further both visually and as sound. Any changes I make to the way the data looks also affects how it sounds and any changes I make to the way it sounds also affects how it looks, so there’s a functional simultaneity between working on a piece in the visual and audio domains, even if those processes don’t necessarily overlap in chronological time. Working on the data as sound can involve manipulating it electronically, such as pitch adjustments according to different tunings or other electronic audio transformations, or it can involve playing it out loud through speakers in my studio and interacting with it using some of the instruments that I play, such as the saxophone, clarinet or flute, re-recording it in the process. Playing the audiovisual data out loud through speakers and re-recording it can allow other acoustic effects to make themselves visible in the finished piece as well, like the reverberation of the room or other ambient sounds.\u003C\u002Fp>\n",{"images":7228,"size":84,"_type":57},[7229],{"_id":1163,"url":7230,"alt":18,"caption":18,"credit":18,"width":7231,"height":3185},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-4.jpg",1147,{"questions":7233,"_type":45},[7234],{"question":7235,"answer":7236},"\u003Cp>What made you start experimenting with both image and sound? Which came first for you?\u003C\u002Fp>\n","\u003Cp>Sound was my first domain of experimentation (well, actually, writing was, but that’s something to get into later) and a lot of the ways that I relate to my material, even in a visual sense, come from what I might call a sonic way of thinking. I’m very process-oriented rather than aesthetically motivated, a lot of the time, in the sense that I like to set certain things in motion and see how they play out rather than aiming at any particular aesthetic goal from the outset. Exploring the outer limits of experimental sound-making through instrumental music and electronic techniques eventually led me to an appreciation of the inherently alien nature of digital perception in general, as compared with biological perception, and made me realise what I tend to refer to as the truly radical transmedia possibilities of working with digital information for creating a new form of art that takes the peculiarities of digital, data-based perception as a starting point to create something that wouldn’t be possible to make in any other way. And it’s important, I suppose, to say that this comes from a re-assessment of the starting point of the work at a fundamental, conceptual level – it doesn’t necessarily need to be high-tech. I think that attitude is something I get from my involvement in underground, experimental, improvised electronic music and noise, which often places less emphasis on high-tech answers for their own sake than academic electronic music does.\u003C\u002Fp>\n",{"images":7238,"size":56,"_type":57},[7239],{"_id":7240,"url":7241,"alt":18,"caption":18,"credit":18,"width":2172,"height":7205},1266,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F441954608_8234925686535113_1653381562043823871_n.jpg",{"questions":7243,"_type":45},[7244],{"question":7245,"answer":7246},"\u003Cp>What role does chance or unpredictability play in your practice, especially given the technology you’re working with?\u003C\u002Fp>\n","\u003Cp>Unpredictability plays a huge role in what I do, particularly as the roots of all my work are ultimately in improvised music and avant-garde jazz. This is also tied to the idea of a process-based orientation rather than an aesthetic one. What I find most rewarding is to gather a set of materials or tools or processes and then really set about interrogating all the possibilities that they might hold within them, knowing full well that, ideally, those possibilities will never be fully exhausted. The goal is exploration, and to find something that I wasn’t expecting. In an algorithmic, marketised world that tries to tell us that all options have already been calculated and worked out ahead of time, I think that’s a useful little rebellion. It says that there are ways of doing things that haven’t been thought of yet and that we don’t necessarily need to have already rationally comprehended, going in, what they are going to be in order to find them.\u003C\u002Fp>\n",{"variant":1179,"images":7248,"_type":73},[7249,7251],{"_id":6775,"url":7250,"alt":18,"caption":18,"credit":18,"width":7231,"height":3185},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-4.jpg",{"_id":7252,"url":7253,"alt":18,"caption":18,"credit":18,"width":7231,"height":3185},1268,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-4.jpg",{"questions":7255,"_type":45},[7256],{"question":7257,"answer":7258},"\u003Cp>Your “Manifesto” offers a glimpse into how you think about your work, do you write to figure things out, or to explain what you’ve discovered?\u003C\u002Fp>\n","\u003Cp>The Manifesto definitely was a case of writing in order to think through, in greater detail, the implications of what I had discovered up to that point, and to try to stretch my consideration of those implications into new domains. In that sense, it has something in common with a lot of the writing that I do but also, considered from another perspective, it’s quite different from most of my other writing because it’s non-fiction. Usually, I write multimedia fiction, most ideally in the form of an audiovisual novel. I find writing fiction useful because of the freedom it gives me to create a world to situate my ideas in. More specifically, it gives me the ability to consciously and deliberately define a context within which to embed my praxis to test it and see how it behaves, rather than passively accepting the context assigned by circumstance. Non-fiction doesn’t allow me quite the same level of freedom, of course, because I must accept the context of the world as it is.\u003C\u002Fp>\n",{"questions":7260,"_type":45},[7261],{"question":7262,"answer":7263},"\u003Cp>What interests you most about the intersection of technology, art, and human perception right now?\u003C\u002Fp>\n","\u003Cp>I’m interested in work that really takes on the conceptual implications of this technological moment at the very foundational, root level, rather than getting consumed by superficialities. This is perhaps another consequence of my preference for the conceptual over the aesthetic, but it’s also out of a desire to create something that has longevity, that will have something to say to times beyond our own. There seems to be a fair bit of work around at the moment that shows something of a preoccupation with the aesthetics of contemporaneity without any real engagement with the contemporary moment at a conceptual or philosophical level – without really drawing out what it is that is fundamentally different about these new times, these new tools, these new media that we have the opportunity to be among the first to explore. Some might say I’m too serious about what I do but I’d flip that around: maybe people used to be so po-faced and serious about things because they believed that they were speaking to Posterity. Now, with the rarely-acknowledged but ever-present sense that our civilisation may end within our lifetimes or that of the next generation, we’ve lost that sense of History with a capital H because we have no clear sense of a future. In that light, maintaining a seriousness about one’s work in these times is a radical act because it says that we shouldn’t just take this loss of a future lying down. We have to try and make something last through the coming dark so that we can at least look our far descendants in the eye.\u003C\u002Fp>\n",{"images":7265,"size":56,"_type":57},[7266],{"_id":3833,"url":7267,"alt":18,"caption":18,"credit":18,"width":7231,"height":3185},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-4.jpg",{"questions":7269,"_type":45},[7270],{"question":7271,"answer":7272},"\u003Cp>Which piece felt like a real turning point in your creative direction?\u003C\u002Fp>\n","\u003Cp>That’s a tough question, because it’s all a continuous process! Over the last couple of years, though, I’ve been expanding the scale at which I’ve been working and have produced some very large works, some around 2 metres tall or wide, lasting around 2 hours in their audio readings, and others up to 8 hours long in their audio readings, presented in virtual spaces at their full, colossal size. I’ve also been pushing the possibilities of the audio side of my process into new territories by working on pieces of Audiovisual Digital Abstraction with some amazing musicians, bringing the collaborative, exploratory, conversational spirit of improvised music even more into the work. I hope to exhibit some of these pieces in the future, possibly in conjunction with some live performances in the exhibition space.\u003C\u002Fp>\n",{"questions":7274,"_type":45},[7275],{"question":7276,"answer":7277},"\u003Cp>Are there any specific techniques or concepts you’re hoping to dive deeper into next?\u003C\u002Fp>\n","\u003Cp>Most recently of all, I’ve been experimenting with tuning the audiovisual data to specific just intonation tuning ratios and combinations, looking into how the interactions of these pure tuning ratios emerge in the visual readings as beautifully subtle, mathematical patterns. I released a series of these for Sedition just recently and there’s more to come in that direction. I want to dig down even further into tuning, including through installations that present different series of pieces designed to sound out loud together in a room, as evolving soundscapes.\u003C\u002Fp>\n",{"images":7279,"size":56,"_type":57},[7280],{"_id":7281,"url":7282,"alt":18,"caption":18,"credit":18,"width":753,"height":3185},1270,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-4.jpg",{"questions":7284,"_type":45},[7285],{"question":638,"answer":7286},"\u003Cp>Most things, sooner or later, end up on my website \u003Ca href=\"http:\u002F\u002Fwww.massimomagee.com\">www.massimomagee.com\u002F\u003C\u002Fa>\u003Cbr \u002F>\nBut they usually appear first on my Instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmassimomagee\">https:\u002F\u002Fwww.instagram.com\u002Fmassimomagee\u003C\u002Fa>\u003C\u002Fp>\n\u003Cp>I’m often to be found in the studio in London that I share with my wife, the abstract painter MiHee Kim Magee, and we’re always happy to welcome the interested and the interesting, to show them what we do.\u003C\u002Fp>\n",{"_type":6,"_id":1578,"slug":7288,"name":7289,"index":7290,"date":7291,"thumbnails":7292,"description":18,"footerImage":7299,"categories":7303,"sections":7305},"luis-galvan","Luis Galvan",55,"2025-07-04",{"quote":7293,"main":7294,"secondary":7298,"reverse":24},"\u003Cp>“I’m fascinated by the tension between fragility and structure, between chaos and control”\u003C\u002Fp>\n",{"image":7295,"background":21,"fit":139},{"_id":3555,"url":7296,"alt":18,"caption":18,"credit":18,"width":7297,"height":3185},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-5.jpg",550,{"image":24,"background":21,"fit":22},{"_id":7300,"url":7301,"alt":18,"caption":18,"credit":18,"width":7302,"height":5107},1274,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-5.jpg",416,[7304],{"_id":127,"slug":146,"name":147},[7306,7310,7314,7319,7324,7328,7333,7338,7343,7349,7354,7359,7364,7369,7374,7382],{"questions":7307,"_type":45},[7308],{"question":1766,"answer":7309},"\u003Cp>My name is Luis Galván, and I’m a designer and artist from Mexico. I’m currently based in\u003Cbr \u002F>\nMexico City, although I’m exploring the possibility of continuing my career in Barcelona. Movement —between places, disciplines, and ideas— is very present in how I work.\u003C\u002Fp>\n",{"questions":7311,"_type":45},[7312],{"question":2552,"answer":7313},"\u003Cp>I’m an industrial designer and artist, and my practice exists in that space between both\u003Cbr \u002F>\nworlds. Through my studio, Muta, I create experimental pieces that challenge the boundaries between function and artistic expression. I’m interested in objects that not only serve a purpose but also evoke feelings, provoke curiosity, or tell a story through their materiality. A big part of my process is material exploration. I’m constantly drawn to how materials behave, how they respond to different techniques, and especially how they interact when combined. I’m fascinated by the tension between fragility and structure, between chaos and control.\u003C\u002Fp>\n\u003Cp>But what I enjoy the most is the process — more than the final object. That’s where things come to life. When I’m testing, failing, and discovering. Sometimes the technique I find by accident becomes the key to the piece I’m working on or even opens a new path for future projects. For me, design is also a form of material research — a space where intuition and experimentation go hand in hand.\u003C\u002Fp>\n",{"images":7315,"size":56,"_type":57},[7316],{"_id":7317,"url":7318,"alt":18,"caption":18,"credit":18,"width":777,"height":5071},1275,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-5.jpg",{"questions":7320,"_type":45},[7321],{"question":7322,"answer":7323},"\u003Cp>You’ve mentioned that you’ve been creating with your hands since childhood, what kinds of things were you drawn to make back then, and do you still see traces of that early curiosity in your current work?\u003C\u002Fp>\n","\u003Cp>Since I was a child, I’ve felt a strong pull toward anything artistic, playful, and sensory. I would spend hours creating with whatever I could find — modeling clay, paper scraps, glue, dirt, sticks, or fabric. I wasn’t really trying to make somethingspecific — I was experimenting just for the sake of it. That raw curiosity hasn’t gone away. I still work with that same instinct to explore and play with materials — only now it’s more intentional, more conscious, and often tied to deeper questions.\u003C\u002Fp>\n",{"images":7325,"size":56,"_type":57},[7326],{"_id":5788,"url":7327,"alt":18,"caption":18,"credit":18,"width":777,"height":5071},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-5.jpg",{"questions":7329,"_type":45},[7330],{"question":7331,"answer":7332},"\u003Cp>Your work explores a wide variety of materials, from textiles to wood to metal, glass and ceramics. How do you decide which material fits a project best? Do the materials guide the concept, or vice versa?\u003C\u002Fp>\n","\u003Cp>It’s very much a two-way relationship. Sometimes I have a clear concept that demands a certain material to express it. Other times, the material itself suggests the form. I like to let materials speak — through resistance, failure, or unpredictability. I believe in staying open to accidents and using them as part of the creative process. Often, what I didn’t plan becomes what makes the piece work.\u003C\u002Fp>\n",{"images":7334,"size":84,"_type":57},[7335],{"_id":7336,"url":7337,"alt":18,"caption":18,"credit":18,"width":2431,"height":5220},1277,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-5.jpg",{"questions":7339,"_type":45},[7340],{"question":7341,"answer":7342},"\u003Cp>Many of your pieces, like the lava-inspired chair, blend concept with functionality. How do you approach the balance between narrative and utility?\u003C\u002Fp>\n","\u003Cp>I see functionality as a foundation, not a limit. An object can serve a purpose, but also\u003Cbr \u002F>\nconvey emotion, memory, or movement. With Ígnea, my lava-inspired sculptural chair, I\u003Cbr \u002F>\nwasn’t just making something to sit on — I wanted to communicate a transformation. The\u003Cbr \u002F>\ntextures, the color gradient, the materials — all those details were meant to be felt, not just\u003Cbr \u002F>\nseen. I like creating pieces that you experience physically and emotionally.\u003C\u002Fp>\n",{"images":7344,"size":84,"_type":57},[7345],{"_id":7346,"url":7347,"alt":18,"caption":18,"credit":18,"width":7348,"height":4266},1278,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-5.jpg",1316,{"questions":7350,"_type":45},[7351],{"question":7352,"answer":7353},"\u003Cp>You move fluidly between art and design, function and expression. Do you see boundaries between those worlds, or do they merge naturally in your process?\u003C\u002Fp>\n","\u003Cp>They merge naturally for me. Design gives structure and function; art allows for emotion,\u003Cbr \u002F>\nsymbolism, and risk. I think we’re at a moment where the most interesting work happens in between — in that grey area where things don’t need to be one or the other. I don’t mind if my work can’t be easily categorized. What matters to me is that it feels honest and meaningful.\u003C\u002Fp>\n",{"images":7355,"size":84,"_type":57},[7356],{"_id":4804,"url":7357,"alt":18,"caption":18,"credit":18,"width":2871,"height":7358},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-5.jpg",1221,{"questions":7360,"_type":45},[7361],{"question":7362,"answer":7363},"\u003Cp>Is there a piece you’ve made that felt especially personal or emotional? What made that process different from the rest?\u003C\u002Fp>\n","\u003Cp>Definitely Ígnea. It came from a very personal place. The concept of lava — something\u003Cbr \u002F>\ndestructive but also generative — mirrored things I was going through at the time. It was\u003Cbr \u002F>\nentirely handmade, and every step of the process felt like a slow transformation. Someone once told me it looked like it was “freezing a moment in time,” like lava caught mid-motion. That stayed with me. It reminded me that objects can hold emotion, memory, and energy — not just form.\u003C\u002Fp>\n",{"questions":7365,"_type":45},[7366],{"question":7367,"answer":7368},"\u003Cp>Was there a moment someone saw something in your work that completely shifted your perspective on it? What did they take away, and from which piece?\u003C\u002Fp>\n","\u003Cp>Yes. In an exhibition, someone told me that Ígnea looked like it was “breathing” — as if it were alive, but frozen. I had always seen it as something dynamic and fiery, but their interpretation added a layer of stillness and contemplation I hadn’t considered. It was a reminder that once a piece leaves your hands, it becomes something different for each person — and that’s beautiful.\u003C\u002Fp>\n",{"questions":7370,"_type":45},[7371],{"question":7372,"answer":7373},"\u003Cp>You’ve already explored so many techniques! What’s something you haven’t tried yet but really want to learn?\u003C\u002Fp>\n","\u003Cp>Even though I’ve explored a lot — ceramics, wood, metal, textiles — I still feel like I’m just\u003Cbr \u002F>\nbeginning. I’m especially drawn to glass. I’ve been learning and experimenting on my own,\u003Cbr \u002F>\njust following my curiosity, but I’d love to go deeper. I want to explore new shaping\u003Cbr \u002F>\ntechniques, different processes, and more refined ways of working with heat, weight, and fragility. Glass is full of contradictions — fluid yet sharp, fragile yet powerful — and I feel there’s a lot more I can learn from it.\u003C\u002Fp>\n",{"variant":1179,"images":7375,"_type":73},[7376,7379],{"_id":7377,"url":7378,"alt":18,"caption":18,"credit":18,"width":2871,"height":7358},1282,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-4.jpg",{"_id":7380,"url":7381,"alt":18,"caption":18,"credit":18,"width":2871,"height":7358},1283,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-5.jpg",{"questions":7383,"_type":45},[7384],{"question":638,"answer":7385},"\u003Cp>You can follow my work on Instagram @_mutaestudio, where I share current projects, process clips, and behind-the-scenes moments. For custom pieces or collaborations, feel free to write to me at galvanvillalobosluiss13@gmail.com. I’d love to hear from you and keep you posted about upcoming exhibitions and new work.\u003C\u002Fp>\n",{"_type":6,"_id":7387,"slug":7388,"name":7389,"index":7390,"date":7391,"thumbnails":7392,"description":18,"footerImage":7399,"categories":7402,"sections":7404},1285,"stephanie-teng","Stephanie Teng",56,"2025-07-06",{"quote":7393,"main":7394,"secondary":7398,"reverse":24},"\u003Cp>“It is less about resolution, more about attunement to what emerges when we pause, listen, and wait.”\u003C\u002Fp>\n",{"image":7395,"background":21,"fit":56},{"_id":7396,"url":7397,"alt":18,"caption":18,"credit":18,"width":808,"height":1573},1286,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-6.jpg",{"image":24,"background":21,"fit":22},{"_id":7400,"url":7401,"alt":18,"caption":18,"credit":18,"width":2871,"height":5818},1287,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-6.jpg",[7403],{"_id":127,"slug":146,"name":147},[7405,7409,7413,7419,7424,7431,7436,7445,7450,7455,7460,7465,7470,7475,7480,7485,7490,7495,7500,7505,7510,7515],{"questions":7406,"_type":45},[7407],{"question":1766,"answer":7408},"\u003Cp>My name is Stephanie Teng and I was born and raised in Hong Kong, educated in Los Angeles and currently based in London.\u003C\u002Fp>\n",{"questions":7410,"_type":45},[7411],{"question":2426,"answer":7412},"\u003Cp>My practice explores the subliminal through the liminal, examining the tension and tenderness between emotional states that cultivate resilience in the face of fear.\u003C\u002Fp>\n",{"images":7414,"size":56,"_type":57},[7415],{"_id":7416,"url":7417,"alt":18,"caption":18,"credit":18,"width":7418,"height":2024},1288,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-5.jpg",1486,{"questions":7420,"_type":45},[7421],{"question":7422,"answer":7423},"\u003Cp>Your work moves across sculpture, sound, photography, and language and circling themes like memory, transformation, and the unseen. How would you describe the emotional or philosophical principle that ties it all together?\u003C\u002Fp>\n","\u003Cp>I’m drawn to the philosophy of the rhizome by Deleuze and Guattari because it reflects how I see the world — interconnected, fluid, and without fixed hierarchies. My artwork mirrors this by creating an organic assemblage of meaning across form, language and materials. I also love the concept of kairos – an ancient Greek interpretation of non-linear or opportune Time. My work lives in these temporal folds, where memory and presence blur. It is less about resolution, more about attunement to what emerges when we pause, listen, and wait.\u003C\u002Fp>\n",{"variant":1116,"images":7425,"_type":73},[7426,7428],{"_id":1458,"url":7427,"alt":18,"caption":18,"credit":18,"width":5081,"height":6460},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-3.jpg",{"_id":4471,"url":7429,"alt":18,"caption":18,"credit":18,"width":5081,"height":7430},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-7.jpg",1378,{"questions":7432,"_type":45},[7433],{"question":7434,"answer":7435},"\u003Cp>You describe your practice as living in the space between the liminal and the subliminal. What first drew you to work in these in-between places and what keeps you there?\u003C\u002Fp>\n","\u003Cp>From generational displacement, cultural dissonance and personal trauma – I grew up moving across borders both literal and internal, often caught between belonging and longing; visibility and erasure. That in-betweenness became strangely familiar, even when it was painful. This led me to study psychology in order to understand how the fear of ambiguity drives us to suppress or avoid the discomfort of uncertainty rather than pause with or process them. My work resists that impulse to run and instead, confronts it by humanizing what we pathologize. I see the liminal and the subliminal as thresholds: spaces we’re told not to linger, places we’re afraid to look. But the tension between the dualities of our existence are synonymous with our humanity, so I try to approach it tenderly with curiosity. It is an ongoing act of reframing: a cyclical process of witnessing, uncovering, and reassembling. Like a tide that always finds its way back to shore.\u003C\u002Fp>\n",{"variant":1179,"images":7437,"_type":73},[7438,7442],{"_id":7439,"url":7440,"alt":18,"caption":18,"credit":18,"width":2024,"height":7441},1292,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-6.jpg",1385,{"_id":7443,"url":7444,"alt":18,"caption":18,"credit":18,"width":2024,"height":7441},1293,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-6.jpg",{"questions":7446,"_type":45},[7447],{"question":7448,"answer":7449},"\u003Cp>In 8 Minutes From the Sun, light becomes a metaphor for delay and memory. What does slowness mean to you in a world obsessed with immediacy?\u003C\u002Fp>\n","\u003Cp>For 8 Minutes From the Sun, I spent two years “walking my mirror” to the same place by the sea back home in Hong Kong. A ritualistic, solitary act that I conducted to move my body and mind to a state of intuitive presence during a time of political darkness. In a world obsessed with a “faster, better, stronger” mentality driven by capitalistic systems, these moments become a metaphor for deep Time rather than chronological Time. It reminds us that perception itself is layered—that meaning takes time to arrive. Deliberate action, then, becomes a form of revolt, embracing not the summit but the mere pursuit of it. In that space, we find a sense of freedom in the process of becoming.\u003C\u002Fp>\n",{"images":7451,"size":56,"_type":57},[7452],{"_id":7453,"url":7454,"alt":18,"caption":18,"credit":18,"width":5695,"height":5695},1294,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-6.jpg",{"questions":7456,"_type":45},[7457],{"question":7458,"answer":7459},"\u003Cp>You often reference Jung, dreams, and ancient emotion-words like charmolypi. Is there a word or idea that’s stuck with you lately?\u003C\u002Fp>\n","\u003Cp>Lately, I’ve been reflecting on the idea of home and ecology. When I heard of zoochosis—the trauma seen in caged animals who develop repetitive, compulsive behaviours— it instantly sounded like a metaphor for modern society. This led me to question how our ecosystems are affecting us. The etymology of home and eco in Ancient Greek are both oikos. It refers not only to a physical place, but one with economic, relational and spiritual dimensions. Today, we simulate home through systems that feel less multi-dimensional, pacing digital cages in bedrooms and on dining tables, selecting the realities that suit us. This dissonance—between the home we need and the structures we’ve built—echoes through the collective psyche like a collective yearning. A longing not just for place, but for a way of being that is whole, rooted, and spiritually alive.\u003C\u002Fp>\n",{"images":7461,"size":56,"_type":57},[7462],{"_id":7463,"url":7464,"alt":18,"caption":18,"credit":18,"width":2024,"height":7441},1295,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-6.jpg",{"questions":7466,"_type":45},[7467],{"question":7468,"answer":7469},"\u003Cp>How do you think vulnerability can be translated into form? Can fragility be a kind of strength?\u003C\u002Fp>\n","\u003Cp>I think it comes from authenticity. An unfiltered honesty with yourself and where you are in life, how you feel about what you’re creating and consuming and what captures your genuine fascination in the most childlike way. Those obsessions will lead to material or conceptual interests which then lead to experiments that ultimately take shape. I believe everything exists in yins and yangs, so where there is fragility, there must be strength. At times fragility is strength; in other times, strength requires fragility. But one cannot live without the other. I find a resolve in that duality by transforming “hard” materials into soft\u003Cbr \u002F>\nand fluid forms, highlighting the vulnerability in materiality.\u003C\u002Fp>\n",{"images":7471,"size":56,"_type":57},[7472],{"_id":7473,"url":7474,"alt":18,"caption":18,"credit":18,"width":5081,"height":7430},1296,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-4.jpg",{"questions":7476,"_type":45},[7477],{"question":7478,"answer":7479},"\u003Cp>What does it mean to be a “third culture” artist in a time of global tension?\u003C\u002Fp>\n","\u003Cp>I’d describe myself as a cultural hybrid, shaped by a history of generational migration. From escaping the Cultural Revolution in China to rebuilding in Hong Kong and Hawaii, my family’s pasts have built a culture of resilience in me. This is where I draw strength and inspiration from in times of despair when looking at the state of the world today. My understanding of multiple cultures allows for a deeper sensibility and empathy for the struggle and pain of others. It allows me to hold contradictions, to weave cultural fluidity into bridges not binaries, and to ask not just where you’re from, but how you belong, what you stand for and why it’s important now. For me, being an artist in these times is about searching for what binds us rather than divides us; being brave and choosing love over fear, no matter how much the world disappoints you.\u003C\u002Fp>\n",{"images":7481,"size":56,"_type":57},[7482],{"_id":7483,"url":7484,"alt":18,"caption":18,"credit":18,"width":5081,"height":7430},1297,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-3.jpg",{"questions":7486,"_type":45},[7487],{"question":7488,"answer":7489},"\u003Cp>Is there a specific work where you surprised yourself, where what emerged was more vulnerable, or stranger, than you expected?\u003C\u002Fp>\n","\u003Cp>In Temple Of The Ordinary – an installation room in my second solo exhibition 8 Minutes From The Sun – I somehow became part of the piece, which wasn’t the intention at the start but ultimately became something I did regularly over the course of a few months. By sitting there with visitors who came by the gallery, I activated the space by asking people questions about loss, love and letting go. Some of those conversations I had in that space reinforced the strength in connection and celebrating vulnerability and the ephemerality where\u003Cbr \u002F>\nart became life.\u003C\u002Fp>\n",{"images":7491,"size":56,"_type":57},[7492],{"_id":7493,"url":7494,"alt":18,"caption":18,"credit":18,"width":2024,"height":7441},1298,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-6.jpg",{"questions":7496,"_type":45},[7497],{"question":7498,"answer":7499},"\u003Cp>What’s a tiny detail in one of your works that you love, even if no one ever notices it?\u003C\u002Fp>\n","\u003Cp>Shaped after the amygdala, the control centre of our emotions, this piece mirrors a heavy psychological state of mind marked by a dark political time. The amber glass was pressed onto a concrete pavement, the textural details that remain on the surface linger, like fragments of a lost time. It reflected the texture of resistance and resilience during the protests in 2019 in Hong Kong when 2 million people took to the streets. It was a precarious time, a turning point for the city I call home. The looming nature of the sculpture hangs above a video depicting a mirror reflecting water, a poem and a sound piece I wrote – a collective ode to the spirit of the resistance: “Be Water”, inspired by Bruce Lee’s teachings. This installation articulates tension, suspension and an enduring memory that will outlive us.\u003C\u002Fp>\n",{"images":7501,"size":56,"_type":57},[7502],{"_id":7503,"url":7504,"alt":18,"caption":18,"credit":18,"width":2368,"height":6460},1299,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-2.jpg",{"questions":7506,"_type":45},[7507],{"question":7508,"answer":7509},"\u003Cp>What’s a symbol or object you keep returning to in your practice, something that continues to evolve with you?\u003C\u002Fp>\n","\u003Cp>Light has always been present with me. Whether through photography, or glass and metal – I see light both as a vessel and as an active invisible hand that shapes the object. The duality of light is part of its power. I’ve used mirrors a lot in my work and often pair it with light. I enjoy exploring how mirrors evoke and provoke our sense of awareness and perception and how light is an essential element to it. Whether through photography, where both of these things are essential, or through sculpture – where I take apart elements of a camera (metal, glass, light) to rebuild new forms. Using traditionally “hard” materials to explore the lightness of being is something I want to keep exploring.\u003C\u002Fp>\n",{"images":7511,"size":56,"_type":57},[7512],{"_id":7513,"url":7514,"alt":18,"caption":18,"credit":18,"width":5081,"height":7430},1300,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-3.jpg",{"questions":7516,"_type":45},[7517],{"question":638,"answer":7518},"\u003Cp>Find me \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fstephinitely.tengy\u002F\">@stephinitely.tengy\u003C\u002Fa> or \u003Ca href=\"http:\u002F\u002Fwww.stephanie-teng.com\">www.stephanie-teng.com\u003C\u002Fa>\u003Cbr \u002F>\nPlanning some exhibitions soon – so stay tuned!\u003C\u002Fp>\n",{"_type":6,"_id":7520,"slug":7521,"name":7522,"index":7523,"date":7524,"thumbnails":7525,"description":18,"footerImage":7533,"categories":7535,"sections":7537},1308,"dahm-lee","Dahm Lee",57,"2025-07-08",{"quote":7526,"main":7527,"secondary":7532,"reverse":24},"\u003Cp>“I respond to the form as it evolves. If a more interesting direction comes up, I adapt.”\u003C\u002Fp>\n",{"image":7528,"background":21,"fit":22},{"_id":7529,"url":7530,"alt":18,"caption":18,"credit":18,"width":357,"height":7531},1305,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3_2.jpg",2100,{"image":24,"background":21,"fit":22},{"_id":1666,"url":7534,"alt":18,"caption":18,"credit":18,"width":2368,"height":6460},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-7.jpg",[7536],{"_id":33,"slug":34,"name":35},[7538,7542,7546,7551,7556,7561,7566,7574,7579,7584,7589,7598,7603,7608,7617,7622,7627],{"questions":7539,"_type":45},[7540],{"question":1766,"answer":7541},"\u003Cp>My name is Dahm Lee and I’m an object artist. I lived in Germany for 15 years and am now mainly based in South Korea, with ongoing work and life between Seoul and Berlin.\u003C\u002Fp>\n",{"questions":7543,"_type":45},[7544],{"question":2426,"answer":7545},"\u003Cp>I bend and bend and bend, layer and layer the steel rods— repeating this process and adjusting the scale and rhythm to create diverse structural forms.\u003C\u002Fp>\n",{"images":7547,"size":84,"_type":57},[7548],{"_id":7549,"url":7550,"alt":18,"caption":18,"credit":18,"width":4459,"height":5429},1309,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-8.jpg",{"questions":7552,"_type":45},[7553],{"question":7554,"answer":7555},"\u003Cp>You mention your process is both intuitive and structured, how do those two coexist while you’re making a piece?\u003C\u002Fp>\n","\u003Cp>My process starts with structural planning — I calculate angles and curves before bending. But as I layer the steel rods, I respond to the form as it evolves. If a more interesting direction comes up, I adapt. It´s a dynamic process where structure and intuition continuously work together.\u003C\u002Fp>\n",{"images":7557,"size":84,"_type":57},[7558],{"_id":7559,"url":7560,"alt":18,"caption":18,"credit":18,"width":4459,"height":5429},1307,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-7.jpg",{"questions":7562,"_type":45},[7563],{"question":7564,"answer":7565},"\u003Cp>Your MMM series, ‘massive metallic mass’ uses the same bending and layering technique across pieces of different sizes and uses. Do you feel like that repetition is saying something, or is it more about exploring what the technique can do?\u003C\u002Fp>\n","\u003Cp>At the beginning it was more about exploring the possibilities of what this ‚repetition‘ could create. But over time, it became an attitude toward the way I work: focused, quiet, and steady.\u003C\u002Fp>\n",{"variant":1179,"images":7567,"_type":73},[7568,7572],{"_id":7569,"url":7570,"alt":18,"caption":18,"credit":18,"width":4459,"height":7571},1310,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-7.jpg",1982,{"_id":1833,"url":7573,"alt":18,"caption":18,"credit":18,"width":4459,"height":7571},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-7.jpg",{"questions":7575,"_type":45},[7576],{"question":7577,"answer":7578},"\u003Cp>Was there something that inspired this style?\u003C\u002Fp>\n","\u003Cp>It probably started with my earlier work. I used to bend a single steel rod to construct a stool, but I slowly got more interested in working with volume. So, I began layering those bent rods one by one, and that led to this style.\u003C\u002Fp>\n",{"images":7580,"size":56,"_type":57},[7581],{"_id":7582,"url":7583,"alt":18,"caption":18,"credit":18,"width":4459,"height":7571},1312,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-7.jpg",{"questions":7585,"_type":45},[7586],{"question":7587,"answer":7588},"\u003Cp>What excites you most about the sculptural potential of metal, and what do you think people often misunderstand about it?\u003C\u002Fp>\n","\u003Cp>What excites me most is the variation that comes from bending and adjusting each steel rod. It allows me to create shapes that grow or shrink with a flowing rhythm. And the textured surface that comes from layering steel rods also offers a unique visual experience, giving the work a sense of shimmer and flow.\u003C\u002Fp>\n\u003Cp>People often see metal as cold, hard, and industrial. But to me, it holds warmth, tactility, and expressive possibilities beyond that.\u003C\u002Fp>\n",{"variant":1116,"images":7590,"_type":73},[7591,7595],{"_id":7592,"url":7593,"alt":18,"caption":18,"credit":18,"width":4459,"height":7594},1314,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-8.jpg",1951,{"_id":7596,"url":7597,"alt":18,"caption":18,"credit":18,"width":4459,"height":7594},1313,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-6.jpg",{"questions":7599,"_type":45},[7600],{"question":7601,"answer":7602},"\u003Cp>Has anyone ever used one of your pieces differently than you imagined?\u003C\u002Fp>\n","\u003Cp>Honestly, my imagination is pretty wide, so no one has surprised me yet — but I’m definitely waiting for that moment! 🙂\u003C\u002Fp>\n",{"questions":7604,"_type":45},[7605],{"question":7606,"answer":7607},"\u003Cp>How do you feel about the idea of recognizability in art and design?\u003C\u002Fp>\n","\u003Cp>I think recognizability in art and design can be both interesting and tricky. It helps build a strong identity but can sometimes feel limiting. Personally, I enjoy recognizing other artists’ works—it’s fun to notice small details and guess who made them. I also like the idea of people recognizing my work, but I try to stay open so that recognizability doesn’t become a fixed expectation.\u003C\u002Fp>\n",{"first":7609,"second":7612,"third":7614,"variant":94,"_type":206},{"_id":7610,"url":7611,"alt":18,"caption":18,"credit":18,"width":4459,"height":7594},1315,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-4.jpg",{"_id":7348,"url":7613,"alt":18,"caption":18,"credit":18,"width":4459,"height":7594},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-5.jpg",{"_id":7615,"url":7616,"alt":18,"caption":18,"credit":18,"width":4459,"height":7594},1317,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-4.jpg",{"questions":7618,"_type":45},[7619],{"question":7620,"answer":7621},"\u003Cp>Are there any other techniques you’re curious to explore in the future?\u003C\u002Fp>\n","\u003Cp>I’m curious about casting— melting and shaping metal— or even upholstery. I’m interested in the variety of colours that textiles offer and their soft textures, so it would be interesting to see how these can blend with metal´s solidity.\u003C\u002Fp>\n",{"images":7623,"size":84,"_type":57},[7624],{"_id":7625,"url":7626,"alt":18,"caption":18,"credit":18,"width":4459,"height":4480},1318,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-4.jpg",{"questions":7628,"_type":45},[7629],{"question":638,"answer":7630},"\u003Cp>you can find me on instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fdahm.lee\u002F\">@dahm.lee \u003C\u002Fa>\u003Cbr \u002F>\nand on my website \u003Ca href=\"https:\u002F\u002Fwww.stu-d-io.de\">www.stu-d-io.de\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":4423,"slug":7632,"name":7633,"index":7634,"date":7635,"thumbnails":7636,"description":18,"footerImage":7644,"categories":7648,"sections":7652},"terramoto","Terramoto",58,"2025-07-10",{"quote":7637,"main":7638,"secondary":7643,"reverse":24},"\u003Cp>“We tend to present ourselves as “aesthetic operators” — we shape and manipulate visuals with intention and sensitivity to communicate and connect…”\u003C\u002Fp>\n",{"image":7639,"background":21,"fit":139},{"_id":7640,"url":7641,"alt":18,"caption":18,"credit":18,"width":5945,"height":7642},2633,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-8-1.jpg",1788,{"image":24,"background":21,"fit":22},{"_id":7645,"url":7646,"alt":18,"caption":18,"credit":18,"width":5945,"height":7647},1322,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-7.jpg",1460,[7649],{"_id":2159,"slug":7650,"name":7651},"studio","Studio",[7653,7657,7661,7665,7670,7675,7680,7686,7691,7695,7699,7704,7709,7714,7722,7727,7736,7741,7746],{"questions":7654,"_type":45},[7655],{"question":1766,"answer":7656},"\u003Cp>My name is Nuno Pires, and I’m the founder of Terramoto Studio based in Porto, Portugal.\u003C\u002Fp>\n",{"questions":7658,"_type":45},[7659],{"question":2426,"answer":7660},"\u003Cp>Our studio is a place where creativity, graphic design, and strategy meet — sometimes it’s tricky to describe our work because a traditional graphic design studio works mainly in the digital and vectorial world, whereas we tend to explore different media, from the physical and digital world.\u003Cbr \u002F>\nWe tend to present ourselves as “aesthetic operators” — we shape and manipulate visuals with intention and sensitivity to communicate and connect with a specific audience.\u003C\u002Fp>\n",{"images":7662,"size":84,"_type":57},[7663],{"_id":29,"url":7664,"alt":18,"caption":18,"credit":18,"width":5945,"height":4110},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-9.jpg",{"questions":7666,"_type":45},[7667],{"question":7668,"answer":7669},"\u003Cp>What was the concept for TERRAMOTO STUDIO when it started in 2018?\u003C\u002Fp>\n","\u003Cp>Terramoto Studio started in 2018 at the Glasgow School of Art, as part of my master’s in graphic design. It started as a publisher releasing writings & objects as opposed to books.\u003Cbr \u002F>\nThe concept for the publisher was to rethink the book as an object and give a better experience to the reader — the writer writes texts, not books.\u003Cbr \u002F>\nThis was activated from time to time, as a side project.\u003C\u002Fp>\n\u003Cp>Then, in 2023, I ended a partnership that I had with a studio in Glasgow and started my practice in Porto. Due to my interest in objects and the material world, I evolved the concept of the publisher into communication design, and, whenever possible, I would create objects to communicate brands or projects.\u003C\u002Fp>\n",{"images":7671,"size":84,"_type":57},[7672],{"_id":7673,"url":7674,"alt":18,"caption":18,"credit":18,"width":7317,"height":5349},1324,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-8.jpg",{"questions":7676,"_type":45},[7677],{"question":7678,"answer":7679},"\u003Cp>Many of your projects involve collaborations with other brands, what makes a client or partner a good fit for you?\u003C\u002Fp>\n","\u003Cp>A good client is always a client who values your work. For us, it’s important that when the client sees our portfolio or a specific project, it truly speaks to them; this is always a good starting point.\u003Cbr \u002F>\nWe try not to be that studio that focuses on a specific type of client or industry, as we like the diversity and variety of people, projects, and businesses.\u003C\u002Fp>\n",{"images":7681,"size":56,"_type":57},[7682],{"_id":7683,"url":7684,"alt":18,"caption":18,"credit":18,"width":7685,"height":5349},1325,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-8.jpg",1195,{"questions":7687,"_type":45},[7688],{"question":7689,"answer":7690},"\u003Cp>Can you walk us through your design process for a project, from initial research to final execution?\u003C\u002Fp>\n","\u003Cp>We have a strong connection to music, and it plays a key role in our creative process. Our journey often begins by selecting one to three albums that resonate with the project. But before we get lost in the world of music (trust us, once we start talking albums, we won’t stop), we always begin with a few key questions. This step is essential—it’s about finding the right answers that help us understand exactly what the client needs.\u003C\u002Fp>\n\u003Cp>We take a very strategic approach to our work and collaborate closely with a brand strategy team to ensure we’re aligned from the start.\u003Cbr \u002F>\nOnce we’ve grasped the project’s goals, positioning, and target audience, we dive into early concepts, all while keeping our chosen albums on constant loop.\u003Cbr \u002F>\nFrom there, we brainstorm a variety of ideas that we believe could work. Sometimes the right concept emerges quickly; other times, it takes a time. But that’s the beauty—and the challenge—of creativity, isn’t it?\u003C\u002Fp>\n\u003Cp>Once we have a solid concept in mind, we gather references to support it and create a moodboard to visually communicate our direction. We’ve found that visuals are an effective way to help the client truly grasp our vision.\u003Cbr \u002F>\nWhile this is typically our standard process, there are times when we feel stuck and need to dig deeper. In those moments, we turn to books, websites, and other resources to spark new ideas and ignite a strong early concept.\u003Cbr \u002F>\nOnce we’ve honed in on the direction, we share it with the client, pitching the concept with supporting references, early sketches, and a bit of copy to bring the idea to life.\u003C\u002Fp>\n",{"images":7692,"size":84,"_type":57},[7693],{"_id":2630,"url":7694,"alt":18,"caption":18,"credit":18,"width":7121,"height":7685},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-8.jpg",{"images":7696,"size":84,"_type":57},[7697],{"_id":1277,"url":7698,"alt":18,"caption":18,"credit":18,"width":7121,"height":3396},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-8.jpg",{"questions":7700,"_type":45},[7701],{"question":7702,"answer":7703},"\u003Cp>What do you think is the most challenging part of the process?\u003C\u002Fp>\n","\u003Cp>The challenges we face vary greatly depending on the client or the project. Sometimes it’s a matter of tight timing, like when we’re given very short deadlines because everything needs to be done yesterday. Other times, it’s about maintaining momentum throughout the project.\u003Cbr \u002F>\nAnother challenge can come from the production side, such as manually printing over 600 napkins with silk screening in under three days.\u003Cbr \u002F>\nAt this stage, we welcome all of these challenges. We’re excited to push ourselves and go the extra mile, and we’re grateful for the opportunities to grow along the way.\u003C\u002Fp>\n\u003Cp>One of the more challenging aspects of our business is prospecting for new clients. As a young design studio—just 1.5 years old (we’ll be celebrating our second anniversary in September)—balancing creative work with outreach and client acquisition is no easy feat. It’s not something that comes naturally to us, but we understand how crucial it is for the growth of our studio.\u003C\u002Fp>\n",{"images":7705,"size":84,"_type":57},[7706],{"_id":7707,"url":7708,"alt":18,"caption":18,"credit":18,"width":3942,"height":3396},1328,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-7.jpg",{"questions":7710,"_type":45},[7711],{"question":7712,"answer":7713},"\u003Cp>Is there a project in the portfolio that felt particularly memorable to the team? Why?\u003C\u002Fp>\n","\u003Cp>Yes, the aDrogaria.\u003C\u002Fp>\n\u003Cp>It was the first project that we did that merged the idea that we had for Terramoto Publisher (objects, not books), but now with Terramoto Studio, using it to create a visual identity (not a conventional logo or vector-based identity but an object).\u003Cbr \u002F>\nThis was a project made in collaboration with the artist collective from @a_drogaria_ where we designed five screws made of brass to communicate the five exhibitions.\u003C\u002Fp>\n\u003Cp>aDrogaria is a collective of artists that present exhibitions, events, and annual programs in various spaces.\u003Cbr \u002F>\nIn its first year, the project took place at aSede, a gallery in Porto that previously operated as a hardware store for over a century. The name Drogaria translates to hardware shop in Portuguese—an homage to the space’s history, which also inspired the central object of the project. Why a screw to communicate a series of exhibitions? The collective wanted to honor the identity and heritage of the former hardware store. Instead of creating a conventional logo or vector-based identity, we proposed using a unique screw design for each exhibition, with each one inspired by the group of artists involved in that show. Much of the project’s content was created without computers. We used only our phones to capture photos and videos of the screws, placed throughout the gallery and in the hands of Sr. Benjamim, a longtime employee of the original hardware store.\u003Cbr \u002F>\nAll five screws were produced in collaboration with a local jeweller. Each was cast in brass, with varied finishes including acid-treated, polished, and silver-plated surfaces.\u003C\u002Fp>\n",{"variant":1179,"images":7715,"_type":73},[7716,7719],{"_id":7717,"url":7718,"alt":18,"caption":18,"credit":18,"width":5441,"height":3396},1329,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-9.jpg",{"_id":7720,"url":7721,"alt":18,"caption":18,"credit":18,"width":5441,"height":3396},1330,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-5.jpg",{"questions":7723,"_type":45},[7724],{"question":7725,"answer":7726},"\u003Cp>Looking back, is there a project that feels like a turning point in your studio’s evolution?\u003C\u002Fp>\n","\u003Cp>Yes—and funnily enough, it was a self-initiated studio project.\u003Cbr \u002F>\nLast August, we decided it was time to create our business card. We were coming up to our first anniversary in September, and we figured that if we’d made it this far, it was time to make things feel more legit, starting off with some cool business cards.\u003Cbr \u002F>\nBut a standard 5.5 × 8.5 cm piece of paper didn’t feel right. Since we look tables as publications and have used screws as a visual identity work, our business card had to reflect the same spirit. It needed to introduce our business, not just with information, but through experience and creativity.\u003Cbr \u002F>\nAfter much thought, we decided our business card would be—a pair of jeans.\u003Cbr \u002F>\nYes, brand new, unworn, produced in Portugal… and given away for free.\u003Cbr \u002F>\nHow? Why?\u003C\u002Fp>\n\u003Cp>These jeans were made from upcycled textile waste, rescued from factories in northern Portugal. Each pair is unique and unworn. Thanks to some contacts in the local textile industry—a major hub here in the north—we were able to source leftover stock, with some jeans even donated. They all had minor imperfections—some more noticeable than others—but nothing that affected their wearability. We thought those flaws gave them character.\u003Cbr \u002F>\nWe had fun writing playful copy for the labels and branding the jeans as our “business card”. We sent them to past collaborators, people we’d love to work with, curious visitors who dropped by the studio, and, of course, to friends and family. The idea was simple: “If they don’t fit you, give them to someone else.”\u003Cbr \u002F>\nThe result? A huge success. We’re now working on bigger projects with brands that first heard about us through… our business card.\u003C\u002Fp>\n",{"variant":1179,"images":7728,"_type":73},[7729,7733],{"_id":7730,"url":7731,"alt":18,"caption":18,"credit":18,"width":5588,"height":7732},1331,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-6.jpg",1354,{"_id":7734,"url":7735,"alt":18,"caption":18,"credit":18,"width":5588,"height":7732},1332,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-5.jpg",{"questions":7737,"_type":45},[7738],{"question":7739,"answer":7740},"\u003Cp>What’s something about multidisciplinary design that you wish more people understood?\u003C\u002Fp>\n","\u003Cp>Right now, within our clients and close network, we’re noticing a growing interest in working with studios that take a broader, more multidisciplinary approach. More and more, people are seeking creative partners who can do more than just graphic design—they’re looking for someone who can also handle strategy, content, and execution across various formats, media, and platforms.\u003Cbr \u002F>\nThat said, there are still clients who come to us for pure graphic design support—and that’s valid, too.\u003Cbr \u002F>\nBut the reality is that today’s brands need to be present in so many formats and spaces that this kind of multidisciplinary thinking becomes a real asset. Working with a team that doesn’t just design visuals, but also thinks strategically—about tone of voice, communication goals, and whether an identity should live as a vector or a physical object—opens up a world of creative possibilities. And that’s something clients can see real value in.\u003Cbr \u002F>\nFrom our experience, the people we work with—both clients and collaborators—genuinely understand and appreciate this way of working. We believe that’s where the interest in our work comes from: the element of surprise, the creative thinking, the ability to think a few steps ahead… When most people think of communication design, they immediately think of graphic design, but when it becomes a designed object, it reframes that expectation. And that shift can feel both new and refreshing.\u003C\u002Fp>\n",{"images":7742,"size":56,"_type":57},[7743],{"_id":7744,"url":7745,"alt":18,"caption":18,"credit":18,"width":5588,"height":7732},1333,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-5.jpg",{"questions":7747,"_type":45},[7748],{"question":638,"answer":7749},"\u003Cp>You can find us in Porto — we have a space on Rua do Moreira, Porto, Portugal — DM us for the door number and we’ll happily offer you a Port (or a coffee) 🙂\u003Cbr \u002F>\nIG: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fp\u002FDL7NS9eC92n\u002F?img_index=1\">@terramoto.studio\u003C\u002Fa>\u003Cbr \u002F>\nWB: \u003Ca href=\"https:\u002F\u002Fterramoto.studio\">www.terramoto.studio\u003C\u002Fa>\u003Cbr \u002F>\nRight now, we’re working on some very exciting projects with a biotech startup, a disruptive shoe store, and our first Portuguese wine client!\u003Cbr \u002F>\nOne we can already share (and turn into a bit of an invitation) is a collaboration and event we’re cooking up with the coolest shop in Lisbon, \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fparlamento.lisboa\u002F\">@parlamento.lisboa\u003C\u002Fa>. This will happen around September, so stay tuned!\u003C\u002Fp>\n",{"_type":6,"_id":7751,"slug":7752,"name":7753,"index":7754,"date":7755,"thumbnails":7756,"description":18,"footerImage":7763,"categories":7766,"sections":7768},1335,"samuel-aguirre","Samuel Aguirre",59,"2025-07-13",{"quote":7757,"main":7758,"secondary":7762,"reverse":24},"\u003Cp>“My work looks to history to understand pre-industrial materials and processes and re-thinks application and technique”\u003C\u002Fp>\n",{"image":7759,"background":21,"fit":22},{"_id":7760,"url":7761,"alt":18,"caption":18,"credit":18,"width":357,"height":255},1338,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FSamuelAguirre_Chair03RedIronOxideonWhite1_PhotoCredTravisLemire.jpg",{"image":24,"background":21,"fit":22},{"_id":7764,"url":7765,"alt":18,"caption":18,"credit":18,"width":5588,"height":1931},1336,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-9.jpg",[7767],{"_id":33,"slug":34,"name":35},[7769,7773,7777,7782,7787,7795,7800,7808,7813,7817,7822,7830,7835,7840,7845,7850,7855,7862,7867,7872,7877,7882,7887,7893],{"questions":7770,"_type":45},[7771],{"question":1766,"answer":7772},"\u003Cp>My name is Samuel Aguirre. I’m based in Providence, RI, USA\u003C\u002Fp>\n",{"questions":7774,"_type":45},[7775],{"question":3060,"answer":7776},"\u003Cp>My practice centers on crafting evocative, sculptural furniture and objects. Each piece considers the stories we tell through the objects we live with and the role those narratives play in our collective future.\u003C\u002Fp>\n",{"images":7778,"size":84,"_type":57},[7779],{"_id":7780,"url":7781,"alt":18,"caption":18,"credit":18,"width":5588,"height":1931},1339,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-8.jpg",{"questions":7783,"_type":45},[7784],{"question":7785,"answer":7786},"\u003Cp>How did your journey into sculptural furniture and object-making begin? Was there a moment that shaped your design ethos?\u003C\u002Fp>\n","\u003Cp>I was a business development professional for over a decade. And although I enjoyed this work, sales and marketing had its creative limits. Only after business hours would I find time to contemplate and produce my own work, and even that was negotiated with my children’s extracurricular activities, play, and bedtime routines. At some point my son and I began to paper mache. After so many objects we were motivated to make our process and materials compostable for easy disposal and a clear conscience. With every new object our process evolved and the toys became extremely resilient. So much so that some of the toys we made years ago are still in the toy bin today, in the same condition as when we made them. Making objects in this medium was all consuming. I had offered my evenings and weekends for many years, but those were no longer enough. I no longer felt the title of “hobbyist” was appropriate. I needed more time and that meant a new professional path, one that prioritized art, design, and craft. So I left the stability of my career and my supportive family and I moved to Providence, RI so I could pursue an MFA in Furniture Design.\u003Cbr \u002F>\nMy path towards craft does not feel like a “passion” in the traditional sense. It feels more like a “matter of fact”. In hindsight, perhaps I never had much say in the matter.\u003C\u002Fp>\n",{"variant":176,"images":7788,"_type":73},[7789,7792],{"_id":7790,"url":7791,"alt":18,"caption":18,"credit":18,"width":1663,"height":1931},1340,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-10.jpg",{"_id":7793,"url":7794,"alt":18,"caption":18,"credit":18,"width":1663,"height":1931},1341,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-9.jpg",{"questions":7796,"_type":45},[7797],{"question":7798,"answer":7799},"\u003Cp>What role do narratives, both personal and collective, play in your creative process? Can you share an example where a story shaped the design of a piece?\u003C\u002Fp>\n","\u003Cp>I think the objects we live with, or make, contribute to our story, personally and collectively. In my case, the work captures this moment in history. It acknowledges this suspended state we find ourselves in: hyper aware of a troubled history, the path we’ve been set on and our work towards a more empathic future for ourselves, our community and for our environment. The work questions the disconnect and echo’s and amplifies what’s possible moving forward.\u003C\u002Fp>\n",{"variant":1116,"images":7801,"_type":73},[7802,7805],{"_id":7803,"url":7804,"alt":18,"caption":18,"credit":18,"width":1603,"height":1931},1342,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-9.jpg",{"_id":7806,"url":7807,"alt":18,"caption":18,"credit":18,"width":5795,"height":1931},1343,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-9.jpg",{"questions":7809,"_type":45},[7810],{"question":7811,"answer":7812},"\u003Cp>How do you navigate the balance between craft tradition and innovation?\u003C\u002Fp>\n","\u003Cp>My work looks to history to understand pre-industrial materials and processes and re-thinks application and technique. I see this as an opportunity to promote the use of natural materials by bridging the gap between traditional techniques and contemporary object making. I find myself inspired by artisanal processes that stand the test of time and reflect a harmonious relationship between humanity and environment. There is a transformative power in learning and preserving techniques that enrich our understanding of culture and contribute to sustainable living and industry.\u003C\u002Fp>\n",{"images":7814,"size":56,"_type":57},[7815],{"_id":2816,"url":7816,"alt":18,"caption":18,"credit":18,"width":255,"height":205},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FSamuelAguirre_GroupShot_1.jpg",{"questions":7818,"_type":45},[7819],{"question":7820,"answer":7821},"\u003Cp>On your project with Tony, why did you choose the Amate paper making technique as the foundation of this project?\u003C\u002Fp>\n","\u003Cp>I first met Tony Torres in 2023 in Daniel Hayman’s Paper making course at RISD. I was exploring 3D application of paper making techniques. Tony, a Printmaker and Chicano Artist, was integrating Amate techniques into his work. We bonded over our interest in Mesoamerican history, paper making and shared Mexican heritage.\u003C\u002Fp>\n",{"variant":1116,"images":7823,"_type":73},[7824,7827],{"_id":4892,"url":7825,"alt":18,"caption":18,"credit":18,"width":1747,"height":7826},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-9.jpg",587,{"_id":7828,"url":7829,"alt":18,"caption":18,"credit":18,"width":1747,"height":7826},1346,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-8.jpg",{"questions":7831,"_type":45},[7832],{"question":7833,"answer":7834},"\u003Cp>What does it mean to use a “slow” and ancient technique to build for the future?\u003C\u002Fp>\n","\u003Cp>I never thought of the techniques I use as “slow”. It’s always been a pursuit of genuine interest. If I am excited about the materials, the history or the process, I will dive in and play with it to see if it makes sense for my practice and the work I want to create. For me, “slow” is less about the pace of the technique and more about being patient with when and how I could incorporate the research into my work.\u003C\u002Fp>\n",{"images":7836,"size":56,"_type":57},[7837],{"_id":7838,"url":7839,"alt":18,"caption":18,"credit":18,"width":1747,"height":7826},1347,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-10.jpg",{"questions":7841,"_type":45},[7842],{"question":7843,"answer":7844},"\u003Cp>Do you see your work as future design or future archaeology?\u003C\u002Fp>\n","\u003Cp>If I am doing this right, I am not thinking about the future and what the work should be. I am focused on the here and now and what makes sense in this moment.\u003C\u002Fp>\n",{"images":7846,"size":84,"_type":57},[7847],{"_id":7848,"url":7849,"alt":18,"caption":18,"credit":18,"width":2829,"height":4696},1349,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-6.jpg",{"questions":7851,"_type":45},[7852],{"question":7853,"answer":7854},"\u003Cp>You’ve said our environmental hurdles are not about lack of resources, but a lack of design ingenuity, what are some examples of this ingenuity that inspire you right now?\u003C\u002Fp>\n","\u003Cp>I find myself inspired by artisanal processes that stand the test of time and reflect a harmonious relationship between humanity and environment. My work looks to history to understand pre-industrial materials and processes and re-thinks application and technique. This as an opportunity to promote the use of natural materials by bridging the gap between traditional techniques and contemporary object making.\u003C\u002Fp>\n",{"variant":1116,"images":7856,"_type":73},[7857,7859],{"_id":1467,"url":7858,"alt":18,"caption":18,"credit":18,"width":2829,"height":3490},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-7.jpg",{"_id":7860,"url":7861,"alt":18,"caption":18,"credit":18,"width":2829,"height":3490},1351,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-6.jpg",{"questions":7863,"_type":45},[7864],{"question":7865,"answer":7866},"\u003Cp>Collaboration seems embedded in your practice. What do you look for in a collaborator, and how does co-creation change the outcomes?\u003C\u002Fp>\n","\u003Cp>YES! I see collaboration as community building. And in community, attitude is everything. My collaborators are down to clown, prioritize a good experience and are as inspired by my work as I am theirs. If we do it right, both parties end up in a space slightly out of our comfort zone.\u003C\u002Fp>\n",{"images":7868,"size":56,"_type":57},[7869],{"_id":7870,"url":7871,"alt":18,"caption":18,"credit":18,"width":357,"height":888},1352,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FAguirre_Torres_9.jpg",{"questions":7873,"_type":45},[7874],{"question":7875,"answer":7876},"\u003Cp>How does material experimentation usually begin for you?\u003C\u002Fp>\n","\u003Cp>I don’t think there is one way material play starts. The origins of interest are endless. More consistent than the initial spark of interest is the research. It’s trial and error, but not in a traditional sense. The insight gained is not always tangible or directly related to the task at hand, but often adjacent or relevant to another stage of the work. The physical act of making is a means to revealing future paths. Identify an idea, pursue an idea, and be ready for paths to present themselves in the most unlikely of places. Only through doing, are these “ah-ha” moments possible. They do not manifest if work is not being done.\u003C\u002Fp>\n",{"questions":7878,"_type":45},[7879],{"question":7880,"answer":7881},"\u003Cp>Is there a piece that surprised you, either in how it turned out, how it was received, or what it taught you?\u003C\u002Fp>\n","\u003Cp>I’ve experienced so much growth as an artist through my work with Tony Torres, specifically the Counting the Days Credenza. My design mind can be so focused on utilitarian design and fabrication, sometimes at the expense of creating the right object. Tony has been instrumental to broadening my perspective of what an object or furniture can be\u002Fshould be. This credenza is a great example of both of us working outside our comfort zone.\u003C\u002Fp>\n",{"questions":7883,"_type":45},[7884],{"question":7885,"answer":7886},"\u003Cp>Is there a piece that felt especially risky, conceptually, aesthetically, or technically?\u003C\u002Fp>\n","\u003Cp>When it comes to fabrication, I tend to play in a world of novelty, so I would say the prototype of any concept is at the same time exciting and nerve wrecking. Then, add a deadline and I’ll likely have a mental breakdown or two. Haha.\u003C\u002Fp>\n",{"images":7888,"size":84,"_type":57},[7889],{"_id":7890,"url":7891,"alt":18,"caption":18,"credit":18,"width":6603,"height":7892},1353,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FSamuelAguirre_StackableChairsonWhite_PhotoCredTravisLemire.jpg",1667,{"questions":7894,"_type":45},[7895],{"question":638,"answer":7896},"\u003Cp>You can find my work at:\u003Cbr \u002F>\n– \u003Ca href=\"http:\u002F\u002Fwww.samindaman.com\">www.samindaman.com\u003C\u002Fa>\u003Cbr \u002F>\n– IG: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fsam_indaman\u002F\">@sam_indaman\u003C\u002Fa>\u003Cbr \u002F>\n– BCMT Gallery (IG: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fbcmtco\u002F\">@BCMTCO\u003C\u002Fa> )\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>\n",{"_type":6,"_id":7732,"slug":7898,"name":7899,"index":7900,"date":7901,"thumbnails":7902,"description":18,"footerImage":7909,"categories":7911,"sections":7915},"daniel-santolo-franco","Daniel Santolo Franco",60,"2025-07-15",{"quote":7903,"main":7904,"secondary":7908,"reverse":24},"\u003Cp>“I start adding layers of information, almost like a game.”\u003C\u002Fp>\n",{"image":7905,"background":21,"fit":22},{"_id":7906,"url":7907,"alt":18,"caption":18,"credit":18,"width":2829,"height":3490},1356,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-9.jpg",{"image":24,"background":21,"fit":22},{"_id":4718,"url":7910,"alt":18,"caption":18,"credit":18,"width":2829,"height":3490},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-10.jpg",[7912],{"_id":1739,"slug":7913,"name":7914},"photographer","Photographer",[7916,7920,7924,7929,7934,7939,7944,7949,7954,7959,7964,7971,7976,7981,7986,7990,7995,8001],{"questions":7917,"_type":45},[7918],{"question":1766,"answer":7919},"\u003Cp>My name is Daniel Santolo Franco, I’m from Venezuela and I’m based in Barcelona, Spain.\u003C\u002Fp>\n",{"questions":7921,"_type":45},[7922],{"question":2426,"answer":7923},"\u003Cp>I transform ideas into visual forms, like a poem, where each element plays a role. I enjoy creating small worlds with objects.\u003C\u002Fp>\n",{"images":7925,"size":84,"_type":57},[7926],{"_id":7927,"url":7928,"alt":18,"caption":18,"credit":18,"width":7008,"height":4468},1358,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-10.jpg",{"questions":7930,"_type":45},[7931],{"question":7932,"answer":7933},"\u003Cp>Your work finds “the sublime in the everyday”, what draws you to simple, quiet details of life?\u003C\u002Fp>\n","\u003Cp>I’m drawn to the idea that life is shaped by small details, silent spectators with no opinion that carry reality. You could be going through a tragedy or living the happiest day of your life, and a stone would still be there, still and unchanged, just as it has been for years. Even the simplest details hold a richness of information that deserves to be admired.\u003C\u002Fp>\n",{"images":7935,"size":56,"_type":57},[7936],{"_id":7937,"url":7938,"alt":18,"caption":18,"credit":18,"width":2174,"height":4468},1359,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-10.jpg",{"questions":7940,"_type":45},[7941],{"question":7942,"answer":7943},"\u003Cp>Is there a small moment or detail in your everyday life that feels special to you?\u003C\u002Fp>\n","\u003Cp>Nowadays, it’s becoming increasingly difficult to connect with small spaces because of how our reality is and “what it demands from us.” That’s why I try, whenever possible, to go to places where nature prevails, and if that’s not possible, I enjoy walking and observing what’s around me.\u003C\u002Fp>\n",{"images":7945,"size":56,"_type":57},[7946],{"_id":7947,"url":7948,"alt":18,"caption":18,"credit":18,"width":4635,"height":2634},1360,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-10.jpg",{"questions":7950,"_type":45},[7951],{"question":7952,"answer":7953},"\u003Cp>Are there recurring symbols or motifs that you return to, either consciously or\u003Cbr \u002F>\nsubconsciously?\u003C\u002Fp>\n","\u003Cp>For me, everyday objects are portals to people or moments. I often use them consciously, like stones, which carry a strong symbolic, semiotic, and biological weight, and fit perfectly within my discourse. But I also suppose that, because of that same emotional weight, many of them appear unconsciously as well.\u003C\u002Fp>\n",{"images":7955,"size":84,"_type":57},[7956],{"_id":7957,"url":7958,"alt":18,"caption":18,"credit":18,"width":2829,"height":719},1361,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-11.jpg",{"questions":7960,"_type":45},[7961],{"question":7962,"answer":7963},"\u003Cp>Do you approach a shoot with a set narrative in mind, or do you allow the setting and subjects to guide the story?\u003C\u002Fp>\n","\u003Cp>Every project begins with a premise. I try to keep it simple at first, and then start adding layers of information, almost like a game. Although it’s true that, often in the very act of creating, ideas emerge that I hadn’t planned at all, and they end up being the most powerful.\u003C\u002Fp>\n",{"variant":1116,"images":7965,"_type":73},[7966,7968],{"_id":5945,"url":7967,"alt":18,"caption":18,"credit":18,"width":4635,"height":1833},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-10.jpg",{"_id":7969,"url":7970,"alt":18,"caption":18,"credit":18,"width":4635,"height":1833},1363,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-9.jpg",{"questions":7972,"_type":45},[7973],{"question":7974,"answer":7975},"\u003Cp>You touch on migration, family, and diversity through a Latin American lens. How do your roots in Venezuela influence the atmosphere of your work?\u003C\u002Fp>\n","\u003Cp>My roots in Venezuela influence every aspect of my work. My vision holds the weight of Venezuelan culture, the art I grew up with, the colors of the Caribbean, our shared struggles,\u003C\u002Fp>\n\u003Cp>the warmth of the people, the love of my parents. They are always present in my\u003Cbr \u002F>\nimagination, like a quiet, steady pulse.\u003Cbr \u002F>\nEven if my projects aren’t always explicit and I constantly seek new experiences, my roots remain the place I return to. They are not just a reference, they are part of who I am. I carry them with deep pride, and they continue to shape the atmosphere of everything I create.\u003C\u002Fp>\n",{"images":7977,"size":84,"_type":57},[7978],{"_id":2637,"url":7979,"alt":18,"caption":18,"credit":18,"width":7980,"height":5564},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-11.jpg",1614,{"questions":7982,"_type":45},[7983],{"question":7984,"answer":7985},"\u003Cp>Is there an aspect of Latin American storytelling or tradition do you feel most\u003Cbr \u002F>\nconnected to?\u003C\u002Fp>\n","\u003Cp>I think if there’s one tradition that resonates deeply with me, it’s the Diablos Danzantes (Dancing Devils), celebrated in different regions of the country during the time of Corpus Christi. I’m especially drawn to the Diablos of Naiguatá, in Vargas State, Venezuela. It’s a religious and cultural celebration that blends Catholic beliefs with Indigenous and Afro- Venezuelan traditions. These festivities are filled with color, dance, community, and cultural heritage, creating a bridge between reality and the mystical.\u003C\u002Fp>\n",{"images":7987,"size":84,"_type":57},[7988],{"_id":7205,"url":7989,"alt":18,"caption":18,"credit":18,"width":1157,"height":5564},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-7.jpg",{"questions":7991,"_type":45},[7992],{"question":7993,"answer":7994},"\u003Cp>Is there a project that you feel represents you best at this moment in time?\u003C\u002Fp>\n","\u003Cp>There is a project with deep emotional weight called Relicario de un Viajero (A Traveler’s Reliquary), in which I portrayed my parents and grandmother, and explored my family legacy. The premise was rooted in the fact that I was about to leave Venezuela, and I was searching for a way to cope with the grief of distance and the knowledge that they would grow old while I was far away. It was a way of honoring them, turning them into archetypal figures of admiration. You can read more about this project on my website.\u003C\u002Fp>\n",{"variant":1179,"images":7996,"_type":73},[7997,7999],{"_id":6363,"url":7998,"alt":18,"caption":18,"credit":18,"width":1157,"height":5564},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-8.jpg",{"_id":5618,"url":8000,"alt":18,"caption":18,"credit":18,"width":1157,"height":5564},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-7.jpg",{"questions":8002,"_type":45},[8003],{"question":638,"answer":8004},"\u003Cp>You can find me on social media @santolofranco and on my website santolofranco.com.\u003C\u002Fp>\n",{"_type":6,"_id":6258,"slug":8006,"name":8007,"index":8008,"date":8009,"thumbnails":8010,"description":18,"footerImage":8017,"categories":8019,"sections":8021},"tosha-jagad","Tosha Jagad",61,"2025-07-17",{"quote":8011,"main":8012,"secondary":8016,"reverse":24},"\u003Cp>“Clay in general as a medium is very challenging. Once the piece is fired, there is no Ctrl+Z”\u003C\u002Fp>\n",{"image":8013,"background":21,"fit":22},{"_id":8014,"url":8015,"alt":18,"caption":18,"credit":18,"width":1157,"height":2726},1371,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-10.jpg",{"image":24,"background":21,"fit":22},{"_id":3940,"url":8018,"alt":18,"caption":18,"credit":18,"width":1157,"height":5564},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-11.jpg",[8020],{"_id":33,"slug":34,"name":35},[8022,8026,8030,8036,8041,8049,8054,8063,8068,8072,8077,8084,8089,8094,8099,8107,8112,8117],{"questions":8023,"_type":45},[8024],{"question":1766,"answer":8025},"\u003Cp>I’m Tosha Jagad and I’m born and brought up in Bombay, India. My practice is based out of Bombay as well.\u003C\u002Fp>\n",{"questions":8027,"_type":45},[8028],{"question":2426,"answer":8029},"\u003Cp>I am a Graphic Designer turned Ceramic Artist. My studio practice involves making small scale sculptural works in clay, predominantly based on handbuilding techniques. I love cats and the feline form serves as an inspiration to a lot of my collections, it’s been a recurring theme in my works. As I explored ceramics, I grew increasingly fascinated with Nerikomi, a technique that I feel bridges my love for graphic design and patterns with ceramics.\u003C\u002Fp>\n",{"images":8031,"size":84,"_type":57},[8032],{"_id":8033,"url":8034,"alt":18,"caption":18,"credit":18,"width":1157,"height":8035},1373,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-12.jpg",574,{"questions":8037,"_type":45},[8038],{"question":8039,"answer":8040},"\u003Cp>You started in graphic design, are there parts of that experience that shaped the way you see and work with clay?\u003C\u002Fp>\n","\u003Cp>Yes, definitely! Initially I was oblivious to the fact that there is any connection between the two because I didn’t set out to combine the two, though the interfusion is not surprising. As a graphic designer I am used to making iterations of a design, playing with forms and layouts using basic design principles like scale, repetition, pattern, alignment, balance, etc. which is very much visible in my ceramic works I feel. I often use design softwares to construct basic forms for certain pieces. It is not only limited to the creation process but my design experience influences the way I shoot my pieces, document work and how I present it.\u003C\u002Fp>\n",{"variant":1116,"images":8042,"_type":73},[8043,8046],{"_id":8044,"url":8045,"alt":18,"caption":18,"credit":18,"width":1157,"height":6803},1374,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-11.jpg",{"_id":8047,"url":8048,"alt":18,"caption":18,"credit":18,"width":1157,"height":6803},1375,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-11.jpg",{"questions":8050,"_type":45},[8051],{"question":8052,"answer":8053},"\u003Cp>Is there an illustration you made that inspired a clay piece, or vice versa?\u003C\u002Fp>\n","\u003Cp>There are quite a few instances where this has happened. One where I wanted to translate a series of drawings onto clay, mimicking a pencil line drawing made using a 0.5mm lead. There are ceramic pencils available that let you draw on a surface but I didn’t want it to be that literal. I ended up using Inlay as a technique and achieved some very delicate lines. Another project involved turning a hand-painted ceramic plate into a screen print. Now, I’m excited to take my sculptures and reinterpret them as etchings. I love the cyclical process of translating 2D drawings into 3D objects, and then reimagining those objects in 2D – it’s a loop\u003C\u002Fp>\n",{"variant":1116,"images":8055,"_type":73},[8056,8059],{"_id":8057,"url":8058,"alt":18,"caption":18,"credit":18,"width":1157,"height":6803},1376,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-11.jpg",{"_id":8060,"url":8061,"alt":18,"caption":18,"credit":18,"width":8062,"height":6803},1377,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-11.jpg",1827,{"questions":8064,"_type":45},[8065],{"question":8066,"answer":8067},"\u003Cp>What is it about figurative subjects that inspire you most?\u003C\u002Fp>\n","\u003Cp>I think I struggle with abstractions. Documenting, observing and drawing inspiration from the mundane and literal physical things I see on a day to day basis is what I love. For example, photographing the same cat around my house everyday, a lot of those images are used as references for drawings on 3D sculptures. Or making stop motion animations of objects being deconstructed. I love taking pictures and most of my sketches come out of those images that I have clicked which usually are drawings of people I know, objects lying around me, cats, quick sketches while travelling.\u003C\u002Fp>\n",{"images":8069,"size":84,"_type":57},[8070],{"_id":7430,"url":8071,"alt":18,"caption":18,"credit":18,"width":8062,"height":6803},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-10.jpg",{"questions":8073,"_type":45},[8074],{"question":8075,"answer":8076},"\u003Cp>How did you first get introduced to the ‘Nerikomi’ process? What do you like about it?\u003C\u002Fp>\n","\u003Cp>I don’t clearly remember how I got introduced to the process. It was either a magazine or maybe the term Agateware which led me to discovering Nerikomi. What’s fascinating about this technique is that it flips the script on traditional ceramic decoration – instead of glazing or painting, you start with the pattern in mind and work backwards to bring it to life. Much like how you see weavers with techniques like Ikat where the design is decided and then the yarns are dyed in a way that when the fabric is woven, it all comes together as a design. The magic of the design reveals itself later.\u003C\u002Fp>\n",{"variant":1116,"images":8078,"_type":73},[8079,8081],{"_id":3643,"url":8080,"alt":18,"caption":18,"credit":18,"width":7396,"height":503},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-12.jpg",{"_id":8082,"url":8083,"alt":18,"caption":18,"credit":18,"width":7396,"height":503},1380,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-8.jpg",{"questions":8085,"_type":45},[8086],{"question":8087,"answer":8088},"\u003Cp>Do the materials or techniques you use hold any symbolic value for you?\u003C\u002Fp>\n","\u003Cp>I’m not sure if it holds any symbolic value for me. But the act of physically creating something out of a lump of clay is freeing in some sense. The fact that I can sketch an idea and build a piece and fire it in my studio where I don’t rely on anybody else to get to an end result is extremely gratifying. It’s a feeling of pure autonomy, one that only clay seems to unlock for me.\u003C\u002Fp>\n",{"images":8090,"size":56,"_type":57},[8091],{"_id":8092,"url":8093,"alt":18,"caption":18,"credit":18,"width":7396,"height":503},1381,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-9.jpg",{"questions":8095,"_type":45},[8096],{"question":8097,"answer":8098},"\u003Cp>Which piece or series pushed your skills or challenged you in an unexpected way?\u003C\u002Fp>\n","\u003Cp>The Kibble candle stands. A design that I very easily laid out on illustrator (design software) in 2D but struggled to build in clay. It involved joining 19 pieces together and cutting identical shapes. Initial attempts were a complete disaster, but that’s also what I love about this medium – troubleshooting. The smallest hurdle can be so difficult; and once you crack it, there is a dopamine rush and you feel like you can conquer the world, until of course something else will most definitely go wrong. Clay in general as a medium is very challenging. Once the piece is fired, there is no Ctrl+Z.\u003C\u002Fp>\n",{"variant":1116,"images":8100,"_type":73},[8101,8104],{"_id":8102,"url":8103,"alt":18,"caption":18,"credit":18,"width":6033,"height":503},1382,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-8.jpg",{"_id":8105,"url":8106,"alt":18,"caption":18,"credit":18,"width":6033,"height":503},1383,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-6.jpg",{"questions":8108,"_type":45},[8109],{"question":8110,"answer":8111},"\u003Cp>Is there an object\u002Fs in your space that you’ve held onto for a long time? Something with a story behind it?\u003C\u002Fp>\n","\u003Cp>Unrelated to clay, but the couch in my studio is something that has been with me for a long time now. My father is an architect and it was a part of his old office which was also co-incidentally my first studio space, and travelled with me to two other studio spaces. It has been reupholstered since, but that’s the only thing that has changed.\u003C\u002Fp>\n",{"images":8113,"size":56,"_type":57},[8114],{"_id":8115,"url":8116,"alt":18,"caption":18,"credit":18,"width":6033,"height":503},1384,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-3.jpg",{"questions":8118,"_type":45},[8119],{"question":638,"answer":8120},"\u003Cp>Physically, you can find me at my studio in Bombay.\u003Cbr \u002F>\nVirtually, on instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fstudiotosh\u002F\">@studiotosh\u003C\u002Fa>\u003Cbr \u002F>\nMy works, on \u003Ca href=\"http:\u002F\u002Fwww.toshajagad.com\">www.toshajagad.com\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":5949,"slug":8122,"name":8123,"index":8124,"date":8125,"thumbnails":8126,"description":18,"footerImage":8133,"categories":8136,"sections":8138},"mark-malecki","Mark Malecki",62,"2025-07-20",{"quote":8127,"main":8128,"secondary":8132,"reverse":24},"\u003Cp>“Over a decade later I’m still fascinated how working properties in all\u003Cbr \u002F>\nmaterials is so strictly based in science\u002Fphysics.”\u003C\u002Fp>\n",{"image":8129,"background":21,"fit":22},{"_id":8130,"url":8131,"alt":18,"caption":18,"credit":18,"width":6033,"height":989},1388,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-11.jpg",{"image":24,"background":21,"fit":22},{"_id":8134,"url":8135,"alt":18,"caption":18,"credit":18,"width":6033,"height":503},1387,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-12.jpg",[8137],{"_id":33,"slug":34,"name":35},[8139,8143,8147,8154,8159,8163,8168,8172,8177,8185,8190,8195,8200,8208,8213,8221,8226,8234,8239,8244],{"questions":8140,"_type":45},[8141],{"question":6078,"answer":8142},"\u003Cp>Mark Malecki, from Virginia (USA) Based in NYC\u002FParis\u003C\u002Fp>\n",{"questions":8144,"_type":45},[8145],{"question":2426,"answer":8146},"\u003Cp>I’m a freelance custom metal fabricator\u002Fwelder, providing design, consultation, and fabrication across the Art\u002FDesign\u002FFashion\u002FArchitecture worlds. In addition, I pursue my personal furniture\u002Flighting\u002Fsculpture pieces available and exhibited at. Shows\u002Fgalleries internationally.\u003C\u002Fp>\n",{"variant":1179,"images":8148,"_type":73},[8149,8151],{"_id":3125,"url":8150,"alt":18,"caption":18,"credit":18,"width":990,"height":989},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-13.jpg",{"_id":8152,"url":8153,"alt":18,"caption":18,"credit":18,"width":990,"height":989},1391,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-12.jpg",{"questions":8155,"_type":45},[8156],{"question":8157,"answer":8158},"\u003Cp>Do you remember the first thing you made that felt as if you recognized yourself in the object?\u003C\u002Fp>\n","\u003Cp>Years ago I was making more knives and tools. I felt others could recognize my work for the styles\u002Ftechniques I was prone to use. Putting so many hours. into these art knives etc it starts to get personal.\u003C\u002Fp>\n",{"images":8160,"size":56,"_type":57},[8161],{"_id":2891,"url":8162,"alt":18,"caption":18,"credit":18,"width":3972,"height":1644},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-12.jpg",{"questions":8164,"_type":45},[8165],{"question":8166,"answer":8167},"\u003Cp>You work with raw, industrial materials like metal and glass, what draws you to these?\u003C\u002Fp>\n","\u003Cp>I’m really a nerd when it comes to material science. Working primarily with metal I’m really lucky to have built a relationship with a material thats quite forgiving. Over a decade later I’m still fascinated how working properties in all materials is so strictly based in science\u002Fphysics.\u003C\u002Fp>\n",{"images":8169,"size":84,"_type":57},[8170],{"_id":1211,"url":8171,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-12.jpg",{"questions":8173,"_type":45},[8174],{"question":8175,"answer":8176},"\u003Cp>What’s your relationship with tools and trade techniques?\u003C\u002Fp>\n","\u003Cp>Great question. Tools, machines, and trade techniques inspire %100. I think it’s more subconscious than I can take credit for. You learn a new exercise, it directly influences the type of work you can produce, and the doors open.\u003C\u002Fp>\n",{"variant":1179,"images":8178,"_type":73},[8179,8182],{"_id":8180,"url":8181,"alt":18,"caption":18,"credit":18,"width":5644,"height":652},1389,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9AB793A6-6C53-4C5A-BDB0-DF3B3777B912.jpg",{"_id":8183,"url":8184,"alt":18,"caption":18,"credit":18,"width":5644,"height":652},1394,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F55E82D30-F74B-4B8E-A570-1B2A3FE117BE.jpg",{"questions":8186,"_type":45},[8187],{"question":8188,"answer":8189},"\u003Cp>How has being based in New York shaped your approach? Are there objects or structures in your everyday life that influences your aesthetic unconsciously?\u003C\u002Fp>\n","\u003Cp>New York City had a profound impact on my practice. A metropolis urban landscape full of design\u002Farchitectural references, and filled with an incredibly unique energy. I’ve referenced specific architectural structures in my personal work. Spending time around the design community also shifted what I wanted to accomplish here, and how I want to be involved in this world.\u003C\u002Fp>\n",{"images":8191,"size":56,"_type":57},[8192],{"_id":8193,"url":8194,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1395,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-12.jpg",{"questions":8196,"_type":45},[8197],{"question":8198,"answer":8199},"\u003Cp>What does “functionality” mean to you when the object begins to behave more like art?\u003C\u002Fp>\n","\u003Cp>Functionality, to me, is a treat. Maybe a more shallow connection than art\u002F sculpture, or maybe deeper. I love being involved tangibly in a pieces story. Art you can actually use, lots of subject to play around with here, its more interesting to me.\u003C\u002Fp>\n",{"variant":1116,"images":8201,"_type":73},[8202,8205],{"_id":8203,"url":8204,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1396,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-11.jpg",{"_id":8206,"url":8207,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1397,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-13.jpg",{"questions":8209,"_type":45},[8210],{"question":8211,"answer":8212},"\u003Cp>Which piece felt like a real turning point in your creative voice or direction?\u003C\u002Fp>\n","\u003Cp>The OG Hairy table was the piece that really took me on another path than what I had been doing for years. The connections and opportunities I found that really changed my life in the past 4 Years or so, could be attributed to this piece coming to life.\u003C\u002Fp>\n",{"variant":1116,"images":8214,"_type":73},[8215,8218],{"_id":8216,"url":8217,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1398,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-9.jpg",{"_id":8219,"url":8220,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1399,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-10.jpg",{"questions":8222,"_type":45},[8223],{"question":8224,"answer":8225},"\u003Cp>Have you ever had a moment where the material resisted your vision and what did that reveal?\u003C\u002Fp>\n","\u003Cp>Many times. I’m always being humbled by materials where the original concept would never have succeeded exactly as conceptualized. There’s always so much to learn and understand in practice the properties and limitations of materials.\u003C\u002Fp>\n",{"first":8227,"second":8229,"third":8231,"variant":94,"_type":206},{"_id":1430,"url":8228,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-9.jpg",{"_id":3666,"url":8230,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-7.jpg",{"_id":8232,"url":8233,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1402,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-4.jpg",{"questions":8235,"_type":45},[8236],{"question":8237,"answer":8238},"\u003Cp>You describe your work as a reflection on power, identity, and societal expectations. How do you see those ideas taking shape physically in your objects?\u003C\u002Fp>\n","\u003Cp>The rewarding part is seeing how others engage with your work. There’s really infinite possible narratives around most pieces, I like to end up in an area where people are curious, confused, agitated even by my work.\u003C\u002Fp>\n",{"images":8240,"size":56,"_type":57},[8241],{"_id":8242,"url":8243,"alt":18,"caption":18,"credit":18,"width":3972,"height":5104},1403,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-1.jpg",{"questions":8245,"_type":45},[8246],{"question":638,"answer":8247},"\u003Cp>Galleries [current 2025]\u003Cbr \u002F>\nLovehouse NYC \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fp\u002FDXeuAYmgENp\u002F?img_index=1\">@lovehouseny\u003C\u002Fa>\u003Cbr \u002F>\nVASTO gallery Barcelona \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fvasto_gallery\u002F\">@vasto_gallery\u003C\u002Fa>\u003Cbr \u002F>\nInstagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmark_malecki\u002F\">@mark_malecki\u003C\u002Fa>\u003C\u002Fp>\n\u003Cp>Website \u003Ca href=\"https:\u002F\u002Fwww.markmalecki.com\u002F?utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGn9uOuJFKvBq6qpont4-0ENMpWFeOoxr74uTgBe7t81vd4Z5xevmNt4Fv1eTk_aem_smrSkqZ609TJO7k2UioK1w\">markmalecki.com\u003C\u002Fa>\u003Cbr \u002F>\nInquiries mmalecki14@gmail.com\u003C\u002Fp>\n",{"_type":6,"_id":8249,"slug":8250,"name":8251,"index":8252,"date":8253,"thumbnails":8254,"description":18,"footerImage":8262,"categories":8266,"sections":8270},1405,"force-majeure","Force Majeure",63,"2025-07-22",{"quote":8255,"main":8256,"secondary":8261,"reverse":24},"\u003Cp>“My goal is to showcase inspiring conscious innovators, people who are curious and always learning to create positive change.”\u003C\u002Fp>\n",{"image":8257,"background":21,"fit":22},{"_id":8258,"url":8259,"alt":18,"caption":18,"credit":18,"width":984,"height":8260},1406,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-13.jpg",546,{"image":24,"background":21,"fit":22},{"_id":8263,"url":8264,"alt":18,"caption":18,"credit":18,"width":8265,"height":6832},1407,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-12.jpg",709,[8267],{"_id":2399,"slug":8268,"name":8269},"zine","Zine",[8271,8275,8280,8285,8290,8295,8300,8305,8310,8315,8320,8325,8329,8334,8339,8344,8348,8353],{"questions":8272,"_type":45},[8273],{"question":159,"answer":8274},"\u003Cp>My name is MaiKhanh Bertrand, and I’m Vietnamese and French.\u003C\u002Fp>\n",{"questions":8276,"_type":45},[8277],{"question":8278,"answer":8279},"\u003Cp>What led you to create Force Majeure? What does the name Force Majeure mean to you?\u003C\u002Fp>\n","\u003Cp>As a fashion designer and stylist, the more I learned about the industry and the state of our world, the more it became evident that to create change, I must promote ethical labels and practices in my work. FORCE MAJEURE is “a situation imperatively requiring a solution, even if it does not respect the rules in force.” We are there. We need a massive shift to resolve the oppressive systems in the fashion industry—even if it goes against what we know, even if it’s difficult.\u003C\u002Fp>\n",{"images":8281,"size":84,"_type":57},[8282],{"_id":8283,"url":8284,"alt":18,"caption":18,"credit":18,"width":92,"height":6832},1408,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-14.jpg",{"questions":8286,"_type":45},[8287],{"question":8288,"answer":8289},"\u003Cp>What moment or realization pushed you to start a platform that actively challenges the fashion industry’s current systems?\u003C\u002Fp>\n","\u003Cp>For a long time, fashion magazines were irrelevant to me and my life because they focused on trends, mass production, and overconsumption. I wanted to learn about unique clothing brands, culture, and innovation, as well as world issues and inspiring solutions to our wasteful ways. This platform is necessary now more than ever to share and build a community around those ideals. I knew I had the experience, passion, and connections to create it, so I did.\u003C\u002Fp>\n",{"images":8291,"size":56,"_type":57},[8292],{"_id":8293,"url":8294,"alt":18,"caption":18,"credit":18,"width":92,"height":6832},1409,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-13.jpg",{"questions":8296,"_type":45},[8297],{"question":8298,"answer":8299},"\u003Cp>As a stylist, has your relationship with clothing changed over time?\u003C\u002Fp>\n","\u003Cp>Not really. I was taught early on that quality, craftsmanship, and expression create the value of our clothes, and I still prioritise those qualities.\u003C\u002Fp>\n",{"questions":8301,"_type":45},[8302],{"question":8303,"answer":8304},"\u003Cp>Who is Force Majeure for? Are you speaking to insiders, outsiders, makers, dreamers, or all the above?\u003C\u002Fp>\n","\u003Cp>FORCE MAJEURE is for everyone wearing and making clothes. We all need a reality check on how our excessive consumption and neglectful production are impacting the world and the people around us. I hope that shoppers will be empowered to buy thoughtfully and that creators will be inspired to design responsibly.\u003C\u002Fp>\n",{"images":8306,"size":56,"_type":57},[8307],{"_id":8308,"url":8309,"alt":18,"caption":18,"credit":18,"width":92,"height":1139},1410,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-13.jpg",{"questions":8311,"_type":45},[8312],{"question":8313,"answer":8314},"\u003Cp>What kinds of voices, stories, and practices are you most committed to amplifying through the platform?\u003C\u002Fp>\n","\u003Cp>My goal is to showcase inspiring conscious innovators, people who are curious and always learning to create positive change. I hope to share their thought processes, experiences, hurdles and accomplishments, as well as their message.\u003C\u002Fp>\n",{"images":8316,"size":56,"_type":57},[8317],{"_id":8318,"url":8319,"alt":18,"caption":18,"credit":18,"width":92,"height":3078},1411,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-13.jpg",{"questions":8321,"_type":45},[8322],{"question":8323,"answer":8324},"\u003Cp>Force Majeure embraces fashion as political; how do you think style, identity, and resistance intersect today?\u003C\u002Fp>\n","\u003Cp>I think all our actions are political: what we eat, where we live, how we dress… Clothing and style give others a first glimpse into who we are, the community we align with, and thus the values we share. Economically, what we invest in and divest from decides which principles will lead fashion in the future. It’s essential to learn where our clothes were made, by whom, and of what materials, to make informed decisions and create a more ethical industry.\u003C\u002Fp>\n",{"images":8326,"size":56,"_type":57},[8327],{"_id":3149,"url":8328,"alt":18,"caption":18,"credit":18,"width":92,"height":2313},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-13.jpg",{"questions":8330,"_type":45},[8331],{"question":8332,"answer":8333},"\u003Cp>Do you see Force Majeure as a space of protest, preservation, education, or something else entirely?\u003C\u002Fp>\n","\u003Cp>FORCE MAJEURE is a space for me to learn and share what I’m learning. My goal is to shed light on the ways we are harming the planet and people and to showcase what ethics in creativity can be. I am not here to blame or guilt, but rather to explore alternatives and offer some solutions.\u003C\u002Fp>\n",{"questions":8335,"_type":45},[8336],{"question":8337,"answer":8338},"\u003Cp>Why a Zine?\u003C\u002Fp>\n","\u003Cp>I was a 90s kid in Los Angeles, and when I first came across local zines, I was so intrigued. Zines have such bold graphics and lettering with a DIY spirit. Fundamentally, it’s a symbol of counterculture; an expert publication in music, art, and fashion that is wildly independent and challenging the status quo.\u003C\u002Fp>\n",{"questions":8340,"_type":45},[8341],{"question":8342,"answer":8343},"\u003Cp>Can you share an issue, feature, or moment that felt especially powerful?\u003C\u002Fp>\n","\u003Cp>So, we just released our first issue ever, reGENERATION, focused on thrift culture, upcycling and waste impact. Every moment of creating this inaugural piece is special, from interviewing designers to shooting with amazing creatives to laying out the magazine.\u003Cbr \u002F>\nOur first launch event really gave me chills, though. An exhibition at Blue Monster Gallery in Bali, curated with a dear friend, felt unreal. The room was buzzing with insightful conversations about art and sustainability; our community was asking questions and devising plans to reimagine a better world. I dreamt about that moment for a long time.\u003C\u002Fp>\n",{"images":8345,"size":56,"_type":57},[8346],{"_id":6778,"url":8347,"alt":18,"caption":18,"credit":18,"width":3677,"height":2313},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-12.jpg",{"questions":8349,"_type":45},[8350],{"question":8351,"answer":8352},"\u003Cp>What are some of the challenges of running a values-led platform in a space that often resists change?\u003C\u002Fp>\n","\u003Cp>So far, being values-led has only brought on positivity and gathered the right, engaged people. We are facing some challenges as an independent start-up, but that’s just part of starting something new. Time and dedication will change all of that.\u003C\u002Fp>\n",{"questions":8354,"_type":45},[8355],{"question":8356,"answer":8357},"\u003Cp>Where is Force Majeure headed next, any upcoming collaborations, issues, or evolutions on the horizon?\u003C\u002Fp>\n","\u003Cp>Issue 02 is called MANkind and focuses on the human in this fashion equation. We will discuss the value that the human touch brings through passion, heritage, artisanship and the gross violation of human rights endured by so many across the world.\u003C\u002Fp>\n",{"_type":6,"_id":5282,"slug":8359,"name":8360,"index":8361,"date":8362,"thumbnails":8363,"description":18,"footerImage":8370,"categories":8375,"sections":8377},"mohammed-badr-al-maskari","Mohammed Badr Al Maskari",64,"2025-07-25",{"quote":8364,"main":8365,"secondary":8369,"reverse":24},"\u003Cp>“I’m writing my way through these stories, and the camera is simply a tool I use to translate thought into feeling.”\u003C\u002Fp>\n",{"image":8366,"background":21,"fit":56},{"_id":1244,"url":8367,"alt":18,"caption":18,"credit":18,"width":3154,"height":8368},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-14.jpg",742,{"image":24,"background":21,"fit":22},{"_id":8371,"url":8372,"alt":18,"caption":18,"credit":18,"width":8373,"height":8374},1417,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-13.jpg",474,661,[8376],{"_id":1739,"slug":7913,"name":7914},[8378,8382,8386,8391,8396,8401,8406,8410,8415,8422,8427,8433,8438,8443,8448,8452,8457,8462],{"questions":8379,"_type":45},[8380],{"question":1171,"answer":8381},"\u003Cp>My name is Mohammed Badr Al Maskari. I’m based in Sur, Oman, a quiet coastal town where the sea isn’t just a landscape, but a language. So much of what I do begins with listening to that.\u003C\u002Fp>\n",{"questions":8383,"_type":45},[8384],{"question":2426,"answer":8385},"\u003Cp>I’m a photographer and visual storyteller. But more than anything, I’m someone who listens to people, to spaces, to the things that go unsaid and uses images and words to carry them forward. I often say I’m writing my way through these stories, and the camera is simply a tool I use to translate thought into feeling.\u003C\u002Fp>\n",{"images":8387,"size":84,"_type":57},[8388],{"_id":8389,"url":8390,"alt":18,"caption":18,"credit":18,"width":5042,"height":8374},1418,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-15.jpg",{"questions":8392,"_type":45},[8393],{"question":8394,"answer":8395},"\u003Cp>You write, “Photography isn’t just about memory. It’s about presence.” Can you expand on how you create that sense of presence in your work?\u003C\u002Fp>\n","\u003Cp>When I take photos, I’m not trying to freeze time. I’m trying to let something keep breathing. I spend time with people not just photographing them, but being with them until the camera disappears. I want the viewer to feel the air in the photo, the texture of the moment, the silence between gestures. I also write a lot before and after I shoot. Writing helps me process the story, so by the time I raise the camera, I already feel connected to what I’m trying to say.\u003C\u002Fp>\n",{"images":8397,"size":84,"_type":57},[8398],{"_id":8399,"url":8400,"alt":18,"caption":18,"credit":18,"width":5042,"height":8374},1419,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-14.jpg",{"questions":8402,"_type":45},[8403],{"question":8404,"answer":8405},"\u003Cp>Can you tell us a little about what you’re currently exploring in your platform, Riwaq?\u003C\u002Fp>\n","\u003Cp>Riwaq is still in its early stages, but it comes from something very personal. I realized how many incredibly talented visual artists exist in Oman photographers, painters, designers who often don’t get the space or recognition they deserve. Riwaq is my way of giving back. It’s not just a magazine. It’s a platform for featuring, supporting, and documenting local artists and communities. Recently, I did a small open-air exhibition in Sur. I hung my photos in a public spot, with no invitation or posters and people came. Elders stopped and shared stories, children asked questions. It reminded me that art doesn’t need to wait for permission. Riwaq is built on that creating spaces where our art can live among our people.\u003C\u002Fp>\n",{"images":8407,"size":56,"_type":57},[8408],{"_id":1849,"url":8409,"alt":18,"caption":18,"credit":18,"width":1663,"height":3863},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-14.jpg",{"questions":8411,"_type":45},[8412],{"question":8413,"answer":8414},"\u003Cp>You describe photography as a way of saying “this shouldn’t be forgotten.” What are you most afraid might be forgotten?\u003C\u002Fp>\n","\u003Cp>I’m afraid we’ll forget the details. The stories that don’t make it into headlines or archives. Like how my little cousins used water bottles to spray words on gravel during Eid. Or how one of them, seeing me photograph, brought out his tiny digital camera and said he wanted to become a photographer too. Or how elders still describe the sea as if it’s a person. These moments are fleeting, but they hold the culture. They hold us.\u003C\u002Fp>\n",{"variant":1116,"images":8416,"_type":73},[8417,8419],{"_id":3160,"url":8418,"alt":18,"caption":18,"credit":18,"width":1663,"height":5629},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-14.jpg",{"_id":8420,"url":8421,"alt":18,"caption":18,"credit":18,"width":1663,"height":5629},1422,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-14.jpg",{"questions":8423,"_type":45},[8424],{"question":8425,"answer":8426},"\u003Cp>A lot of your images are centered around the idea of community. What does community mean to you, and how do you try to reflect it through Riwaq or your own work?\u003C\u002Fp>\n","\u003Cp>Community is where my work begins and ends. I don’t believe in just taking stories I believe in offering something back. Whether that’s a photograph, a printed magazine, or a space to gather. That’s the heart of Riwaq. I want people to see themselves reflected not in polished gallery walls, but in everyday places. That’s why I exhibit outdoors, or directly in the neighborhoods I photograph. And as Riwaq grows, I want it to be a place where others especially Omani artists can be seen and supported.\u003C\u002Fp>\n",{"variant":176,"images":8428,"_type":73},[8429,8432],{"_id":8430,"url":8431,"alt":18,"caption":18,"credit":18,"width":890,"height":3044},1423,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-13.jpg",{"_id":1244,"url":8367,"alt":18,"caption":18,"credit":18,"width":3154,"height":8368},{"questions":8434,"_type":45},[8435],{"question":8436,"answer":8437},"\u003Cp>In a place “where tradition meets silence,” how do you document both the visible and the intangible elements of culture?\u003C\u002Fp>\n","\u003Cp>Omani culture carries so much in the quiet the way someone pours coffee, or how seaweed is gathered, or how a song drifts through a fishing port at dusk. I try to photograph not just the action, but the atmosphere. The unseen. I don’t rush. I sit. I observe. I let the moment form its own rhythm. Writing also helps me with this it helps me hold onto what can’t be seen.\u003C\u002Fp>\n",{"images":8439,"size":84,"_type":57},[8440],{"_id":8441,"url":8442,"alt":18,"caption":18,"credit":18,"width":3154,"height":8368},1425,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-10.jpg",{"questions":8444,"_type":45},[8445],{"question":8446,"answer":8447},"\u003Cp>If someone looked through your body of work years from now, what do you hope they’ll understand about you?\u003C\u002Fp>\n","\u003Cp>I hope they see someone who didn’t just document but cared. Someone who believed that every image holds a life, a history, a heartbeat. I hope they understand that I was trying to create space for others, not just for myself. And that I was always learning always listening.\u003C\u002Fp>\n",{"images":8449,"size":84,"_type":57},[8450],{"_id":6604,"url":8451,"alt":18,"caption":18,"credit":18,"width":4444,"height":8368},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-11.jpg",{"questions":8453,"_type":45},[8454],{"question":8455,"answer":8456},"\u003Cp>You describe your work in a deeply poetic tone. Do poetry, literature, music, or other art forms influence your creative process or the way you see the world through your lens?\u003C\u002Fp>\n","\u003Cp>Absolutely. I’m constantly reading and writing. Sometimes I write before I shoot, sometimes after but it’s always part of the process. Poetry especially helps me slow down and feel. Music too. I think everything I create has its own rhythm, like a verse or a breath. And sometimes, what I can’t say in words, I find in the frame of a photograph.\u003C\u002Fp>\n",{"images":8458,"size":56,"_type":57},[8459],{"_id":8460,"url":8461,"alt":18,"caption":18,"credit":18,"width":4444,"height":8368},1427,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-10.jpg",{"questions":8463,"_type":45},[8464],{"question":638,"answer":8465},"\u003Cp>You can find me on Instagram at @mbdr.jpg and follow Riwaq at @riwaqmagazine. I worked on a documentary series called Waves of Us, which explores how deeply the people of Sur are connected to the ocean emotionally, culturally, spiritually. I’m also traveling across Oman to document the cultural differences between regions from north to south capturing the beauty of what’s often overlooked. And with Riwaq, I hope to keep building a space that amplifies these voices and moments both mine and others.\u003C\u002Fp>\n",{"_type":6,"_id":8467,"slug":8468,"name":8469,"index":8470,"date":8471,"thumbnails":8472,"description":18,"footerImage":8480,"categories":8482,"sections":8484},1429,"romain-basile-petrot","Romain Basile Petrot",65,"2025-07-28",{"quote":8473,"main":8474,"secondary":8479,"reverse":24},"\u003Cp>“I actually came to metal through a dream: I wanted to make a chair out of paper.”\u003C\u002Fp>\n",{"image":8475,"background":21,"fit":22},{"_id":8476,"url":8477,"alt":18,"caption":18,"credit":18,"width":2488,"height":8478},2857,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-15-1-11.jpg",1484,{"image":24,"background":21,"fit":22},{"_id":1302,"url":8481,"alt":18,"caption":18,"credit":18,"width":5107,"height":751},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-14.jpg",[8483],{"_id":33,"slug":34,"name":35},[8485,8490,8494,8499,8504,8511,8516,8521,8526,8534,8539,8547,8552,8557,8564,8569,8574,8579,8584,8589,8595],{"questions":8486,"_type":45},[8487],{"question":8488,"answer":8489},"\u003Cp>What’s your name and where are you based\u002Ffrom?\u003C\u002Fp>\n","\u003Cp>My name is Romain Basile Petrot. I work mostly in Paris and a bit in Athens lately.\u003C\u002Fp>\n",{"questions":8491,"_type":45},[8492],{"question":1423,"answer":8493},"\u003Cp>I design objects with architectural awareness, and I develop architectures with a sharp sensitivity to detail, form, and atmosphere. All of it revolves around questions of scale and time. The notion of monumentality, in particular, is something that both drives and fascinates me.In design, I’ve been working mainly with sheet metal. I fold it to give it strength. Pushing the material to its edge and watching it stand. But that’s just for now, my first two collections. I’m not tied to any one material. The context of my next project might lead me to work with stone, wood, or more experimental materials, mushrooms or seaweeds. My whole approach is adaptive and responsive to context, which is always plural: geographic, economic, temporal, and beyond.\u003C\u002Fp>\n",{"images":8495,"size":84,"_type":57},[8496],{"_id":8497,"url":8498,"alt":18,"caption":18,"credit":18,"width":4032,"height":1675},1432,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-16.jpg",{"questions":8500,"_type":45},[8501],{"question":8502,"answer":8503},"\u003Cp>What led you here to this? Do you remember the first time you made contact with this craft?\u003C\u002Fp>\n","\u003Cp>I actually came to metal through a dream: I wanted to make a chair out of paper.\u003Cbr \u002F>\nI was drawn to the gesture of folding something fragile, making it hold. Metal offered that same potential, but with the strength needed to create furniture.\u003Cbr \u002F>\nBeyond its physical properties, metal also brought me back to memories of Brittany: the grey-blue sea, rusted ships, tired sheets of metal perforated by time. Beautiful in their decay. And now, maybe I’ll return to that original idea, making a chair from a single sheet of paper. But I haven’t cracked the code yet.\u003C\u002Fp>\n",{"variant":1179,"images":8505,"_type":73},[8506,8509],{"_id":8507,"url":8508,"alt":18,"caption":18,"credit":18,"width":5647,"height":1675},1433,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-15.jpg",{"_id":2205,"url":8510,"alt":18,"caption":18,"credit":18,"width":5647,"height":1675},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-15.jpg",{"questions":8512,"_type":45},[8513],{"question":8514,"answer":8515},"\u003Cp>How do you usually begin a piece?\u003C\u002Fp>\n","\u003Cp>I always begin with the material, the desire to feel it, to push it, to test its limits.\u003Cbr \u002F>\nForm grows from that dialogue. And once it appears, I challenge it. I try to take it somewhere slightly off-balance, into something unexpected or surprising. I’m interested in architectural oppositions: full\u002Fempty, thick\u002Fthin, heavy\u002Flight. I look for contrasts, and for a way to express gravity, always.\u003C\u002Fp>\n",{"images":8517,"size":56,"_type":57},[8518],{"_id":8519,"url":8520,"alt":18,"caption":18,"credit":18,"width":1612,"height":4400},1435,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-15.jpg",{"questions":8522,"_type":45},[8523],{"question":8524,"answer":8525},"\u003Cp>What draws you to metal as a primary material—and how do you treat or manipulate it to achieve softness or emotion?\u003C\u002Fp>\n","\u003Cp>I think it all goes back to my desire to make a chair out of paper, and maybe also to the rough, raw landscapes I used to experience in Brittany, or the forbidden corners of the cities I’ve lived in.\u003Cbr \u002F>\nAs I said before, I’m looking for contrasts, to make emotion emerge where you’d least expect it. Something brutal that turns tender. It’s always a negotiation between violence and delicacy.\u003C\u002Fp>\n",{"variant":1179,"images":8527,"_type":73},[8528,8531],{"_id":8529,"url":8530,"alt":18,"caption":18,"credit":18,"width":1612,"height":4400},1436,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-15.jpg",{"_id":8532,"url":8533,"alt":18,"caption":18,"credit":18,"width":4370,"height":8374},1437,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-14.jpg",{"questions":8535,"_type":45},[8536],{"question":8537,"answer":8538},"\u003Cp>What’s your favorite thing to do to get away?\u003C\u002Fp>\n","\u003Cp>To get away, I run.\u003Cbr \u002F>\nDuring the year, I run through cities. In summer, I run in the mountains, by the sea. It’s a way to empty out, and refill. When I run, my body feels right, and my ideas move more freely.\u003C\u002Fp>\n",{"variant":1116,"images":8540,"_type":73},[8541,8544],{"_id":8542,"url":8543,"alt":18,"caption":18,"credit":18,"width":4370,"height":8047},1438,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-15.jpg",{"_id":8545,"url":8546,"alt":18,"caption":18,"credit":18,"width":4370,"height":8047},1439,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-11.jpg",{"questions":8548,"_type":45},[8549],{"question":8550,"answer":8551},"\u003Cp>Are there references you return to? Architecture, history, or something more personal or cultural?\u003C\u002Fp>\n","\u003Cp>What I create is the sum of my internal references. In fact, I like to say we don’t really “create”, we reinterpret, we reassemble concepts in new ways. It all comes from what I’ve seen, read, felt, lived. People I’ve met, places I’ve been. These things filter through me and reappear as form, as texture, as material. The starting point might change, but the ground stays the same: memory, sensation, architecture.\u003C\u002Fp>\n",{"questions":8553,"_type":45},[8554],{"question":8555,"answer":8556},"\u003Cp>Is there a piece you’ve made that surprised you either in how it turned out or how people responded to it?\u003C\u002Fp>\n","\u003Cp>My first chair, Continuum Discontinuum, holds a special place.\u003Cbr \u002F>\nIt’s bold and punk. It hits hard, sometimes too hard. Some people feel like it’s not possible to live with it. It provokes something almost forbidden. I like that line, where seduction meets discomfort. Where expectations are challenged.\u003C\u002Fp>\n",{"variant":1179,"images":8558,"_type":73},[8559,8561],{"_id":5644,"url":8560,"alt":18,"caption":18,"credit":18,"width":4370,"height":8047},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-12.jpg",{"_id":8562,"url":8563,"alt":18,"caption":18,"credit":18,"width":4370,"height":8047},1441,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-11.jpg",{"questions":8565,"_type":45},[8566],{"question":8567,"answer":8568},"\u003Cp>What’s been influencing your thinking lately that has nothing to do with work?\u003C\u002Fp>\n","\u003Cp>For me, everything is connected to the work, because anything can become a source of inspiration.\u003Cbr \u002F>\nLately, I’ve been immersed in cinema. I’m fascinated by how film can evoke deep emotions, sometimes with almost nothing.\u003Cbr \u002F>\nI was recently struck by The Blue Caftan, and I just discovered Claude Miller’s La Classe de Neige, which I found quietly powerful. I also love Tarkovsky’s Stalker, and films by Wong Kar-wai for their atmosphere.\u003C\u002Fp>\n",{"images":8570,"size":56,"_type":57},[8571],{"_id":6446,"url":8572,"alt":18,"caption":18,"credit":18,"width":8573,"height":4370},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F16-1.jpg",789,{"questions":8575,"_type":45},[8576],{"question":8577,"answer":8578},"\u003Cp>Do music, film, books, or other forms of art play a part in your life and thinking?\u003C\u002Fp>\n","\u003Cp>Absolutely. Music, cinema, literature, they feed my internal library.\u003Cbr \u002F>\nThey form a kind of personal mythology, a mental archive of images and atmospheres that I carry with me. Real or imagined, they’re always there, ready to be tapped into. That archive is a reserve of power.\u003C\u002Fp>\n",{"images":8580,"size":56,"_type":57},[8581],{"_id":8582,"url":8583,"alt":18,"caption":18,"credit":18,"width":8573,"height":5429},1444,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-2.jpg",{"questions":8585,"_type":45},[8586],{"question":8587,"answer":8588},"\u003Cp>Do you feel that exhibiting with other artists changes the way your work is perceived, or does it add another layer?\u003C\u002Fp>\n","\u003Cp>Yes, and I love it. It anchors the work in a contemporary dialogue.\u003Cbr \u002F>\nWe’re part of a whole, a current state of creation. It’s exciting to observe, to take part in.\u003C\u002Fp>\n",{"variant":1116,"images":8590,"_type":73},[8591,8593],{"_id":2707,"url":8592,"alt":18,"caption":18,"credit":18,"width":3666,"height":5429},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-8.jpg",{"_id":2516,"url":8594,"alt":18,"caption":18,"credit":18,"width":3666,"height":5429},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-5.jpg",{"questions":8596,"_type":45},[8597],{"question":638,"answer":8598},"\u003Cp>You can find me on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fromainbasilepetrot\u002F\">@romainbasilepetrot\u003C\u002Fa>\u003Cbr \u002F>\nRight now, my work is on view in Athens at Ninetto Gallery, come see it!\u003Cbr \u002F>\nIt was also recently shown in Paris during the Gammon Gammon event, which brought together a bunch of other young creators. That was fun !\u003C\u002Fp>\n",{"_type":6,"_id":8600,"slug":8601,"name":8602,"index":8603,"date":8604,"thumbnails":8605,"description":18,"footerImage":8611,"categories":8613,"sections":8615},1447,"natalie-dubrovska","Natalie Dubrovska",66,"2025-07-30",{"quote":8606,"main":8607,"secondary":8610,"reverse":24},"\u003Cp>“I like when there’s room to move, to feel slightly off-balance.”\u003C\u002Fp>\n",{"image":8608,"background":21,"fit":22},{"_id":4559,"url":8609,"alt":18,"caption":18,"credit":18,"width":8573,"height":5379},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-15.jpg",{"image":24,"background":21,"fit":22},{"_id":3908,"url":8612,"alt":18,"caption":18,"credit":18,"width":8573,"height":5379},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-16.jpg",[8614],{"_id":33,"slug":34,"name":35},[8616,8621,8625,8630,8635,8643,8648,8655,8660,8663,8668,8673,8678,8682,8687,8691,8696,8703],{"questions":8617,"_type":45},[8618],{"question":8619,"answer":8620},"\u003Cp>What’s your name and where are you from\u002F based?\u003C\u002Fp>\n","\u003Cp>Natalie Dubrovska. from Kyiv, Ukraine, based between London and Barcelona.\u003C\u002Fp>\n",{"questions":8622,"_type":45},[8623],{"question":2426,"answer":8624},"\u003Cp>I work between spatial design and material-led sculpture – across my interior studio, with projects published internationally, and Study of Glass, where I create experimental objects and jewellery.\u003Cbr \u002F>\nMy practice spans large-scale installations, sculptural furniture, and smaller wearable pieces, primarily working with glass and found materials. I move between formats, but everything is rooted in hands-on making and material research.\u003C\u002Fp>\n",{"images":8626,"size":56,"_type":57},[8627],{"_id":8628,"url":8629,"alt":18,"caption":18,"credit":18,"width":8573,"height":6349},1450,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-17.jpg",{"questions":8631,"_type":45},[8632],{"question":8633,"answer":8634},"\u003Cp>You work with raw, found, or industrial materials. What draws you to these specific forms?\u003C\u002Fp>\n","\u003Cp>Coming from the high-end interiors world, I’ve always seen beauty in the balance between raw and polished. There’s something in that intersection that intrigues me – it adds layers to the work.Also, it’s not a radical idea – so many materials already exist, why wouldn’t we use them? And then there’s glass. That’s just a one-way street for me. The tension between control and surprise is addictive. You’re shaping something in a pretty dangerous technique, and somehow it becomes so fragile and permanent at the same time.\u003C\u002Fp>\n",{"variant":1179,"images":8636,"_type":73},[8637,8640],{"_id":8638,"url":8639,"alt":18,"caption":18,"credit":18,"width":255,"height":357},1451,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002Fbritney_lee_chairs15769.jpg",{"_id":2665,"url":8641,"alt":18,"caption":18,"credit":18,"width":357,"height":8642},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002Frootsofnowhere01-nataliedubrovska.jpg",1875,{"questions":8644,"_type":45},[8645],{"question":8646,"answer":8647},"\u003Cp>Your work plays with space, boundaries, and voids, what role does negative space or play in how you build?\u003C\u002Fp>\n","\u003Cp>I think negative space is actually where a lot of the work happens. In my recent table installation, the glass flowers sit in the middle specifically as an interruption. They create a soft boundary between people – you don’t see the person across from you clearly, only through distortion, reflection, or gaps. That space between is what shifts the whole experience, or maybe even creates it.\u003Cbr \u002F>\nI like when there’s room to move, to feel slightly off-balance. In my projects, there’s always an open-ended scenario. Even when I build something spatial, I never fully know what the atmosphere will be in the end. It’s the people – how they fill the empty spaces – that complete the work.\u003C\u002Fp>\n",{"variant":1116,"images":8649,"_type":73},[8650,8653],{"_id":8651,"url":8652,"alt":18,"caption":18,"credit":18,"width":8573,"height":6349},1453,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-16.jpg",{"_id":6496,"url":8654,"alt":18,"caption":18,"credit":18,"width":8573,"height":5370},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-16.jpg",{"questions":8656,"_type":45},[8657],{"question":8658,"answer":8659},"\u003Cp>Your installations often feel architectural but also very emotional, do you see them more as structures or as emotional containers?\u003C\u002Fp>\n","\u003Cp>We naturally lean on structures – it makes us feel safe. In the architectural world, there’s no real space for improvisation. That’s what I love about making: you set your own rules and play.\u003Cbr \u002F>\nWith glass, it definitely leads you. If you listen, it gives a lot back. It brings you to the point when you accept failures as a norm, and they’re not failures anymore. I feel like emotions sit somewhere in that space – when you’re being bold, a bit crazy, accepting being ugly sometimes. When you stop overthinking and just make the most honest thing you can.\u003Cbr \u002F>\nSame with my furniture. Wood doesn’t usually let you improvise. But when you’ve got a bunch of offcuts – there’s no other way. And you start playing around. And that makes it emotional. You just accept whatever comes, always ready to start from scratch if necessary. I like that.\u003C\u002Fp>\n",{"images":8661,"size":84,"_type":57},[8662],{"_id":4559,"url":8609,"alt":18,"caption":18,"credit":18,"width":8573,"height":5379},{"questions":8664,"_type":45},[8665],{"question":8666,"answer":8667},"\u003Cp>Looking back at your body of work, is there a recurring gesture, shape, or material you keep returning to?\u003C\u002Fp>\n","\u003Cp>I just finished my year at the Royal College of Art, and you go into places like that after 10 years of practice thinking you’ll reinvent yourself or make something completely new.\u003Cbr \u002F>\nWhat’s interesting is that when I came in with my interior and glass work, people kept saying it all felt really coherent. Reflective, prismatic, pure? That’s not my wording! haha\u003Cbr \u002F>\nBut I do think reflections, mirrors, light distortions – that’s definitely something I keep coming back to. Not always in a literal way, but it’s there – in how light hits glass, how things look through another surface, how perception shifts depending on where you stand. That theme keeps showing up no matter what I make.\u003C\u002Fp>\n",{"images":8669,"size":84,"_type":57},[8670],{"_id":8671,"url":8672,"alt":18,"caption":18,"credit":18,"width":2942,"height":528},1455,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F66.jpg",{"questions":8674,"_type":45},[8675],{"question":8676,"answer":8677},"\u003Cp>Is there a particular project that pushed you out of your comfort zone conceptually or physically?\u003C\u002Fp>\n","\u003Cp>Working in architecture really toughens you – after that, nothing feels too far outside your comfort zone hehe. But the series of dinners I hosted on the theme of displacement – along with the table piece I built to respond to the same theme – was a different kind of challenge.. When you deal with something as complex as war, there’s always the risk of overworking it or not doing it justice. It felt strange at times to talk about Ukraine while being in such a privileged space. But the more I shared, the more I realised – if not me as a Ukrainian, then who?\u003Cbr \u002F>\nIt was definitely the most emotionally challenging thing I’ve done – but also the most meaningful so far.\u003C\u002Fp>\n",{"images":8679,"size":56,"_type":57},[8680],{"_id":6629,"url":8681,"alt":18,"caption":18,"credit":18,"width":426,"height":3001},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-16.jpg",{"questions":8683,"_type":45},[8684],{"question":8685,"answer":8686},"\u003Cp>You often work with decay, breakage, and fragility. How do you think about transformation as both a process and a metaphor in your work?\u003C\u002Fp>\n","\u003Cp>I see breakage and fragility as part of the process. With glass, you have to accept constant cracking. It’s the best teacher.\u003Cbr \u002F>\nIt taught me that something precious can be ruined in a second. That feels deeply metaphorical, especially coming from Ukraine.\u003Cbr \u002F>\nTransformation in my work is about becoming something else. That’s what happens to displaced life landscapes and people. They carry their culture across oceans and create new realities.\u003Cbr \u002F>\nThere’s something both deeply tragic and fascinating about it. Like the Kakhovka Dam in Kherson Oblast, Ukraine – it was destroyed, but according to local ecologists, that land will turn into a forest. Life always finds its way. And I’m drawn to that.\u003C\u002Fp>\n",{"images":8688,"size":56,"_type":57},[8689],{"_id":6527,"url":8690,"alt":18,"caption":18,"credit":18,"width":426,"height":1644},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-16.jpg",{"questions":8692,"_type":45},[8693],{"question":8694,"answer":8695},"\u003Cp>Is there a specific material you haven’t yet worked with that you’re curious to explore?\u003C\u002Fp>\n","\u003Cp>I’m really drawn to the play of light, shadow, and prismatic effects – but I don’t want to force it or make it behave in an unnatural way. I tried in small experiments and am constantly noticing natural light behaviors.\u003Cbr \u002F>\nI’d love to explore it on a larger scale at some point, but I haven’t had the right opportunity yet. It’s something I keep thinking about – how light can become part of the material, or even the material itself.\u003C\u002Fp>\n",{"images":8697,"size":56,"_type":57},[8698],{"_id":8699,"url":8700,"alt":18,"caption":18,"credit":18,"width":8701,"height":8702},1458,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-15.jpg",596,893,{"questions":8704,"_type":45},[8705],{"question":638,"answer":8706},"\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fnatalie.dubrovska\u002F\"> @natalie.dubrovska\u003C\u002Fa> — for process, behind-the-scenes, upcoming shows, and to chat\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.studyofglass.com\u002F?utm_source=ig&utm_medium=social&utm_content=link_in_bio\">studyofglass.com\u003C\u002Fa> \u002F \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fstudyofglass\u002F\">@studyofglass\u003C\u002Fa> — for recent practice updates and my jewellery\u002Fobjects\u003C\u002Fp>\n",{"_type":6,"_id":7647,"slug":8708,"name":8709,"index":8710,"date":8711,"thumbnails":8712,"description":18,"footerImage":8721,"categories":8724,"sections":8726},"balzer-balzer","Balzer Balzer",67,"2025-08-02",{"quote":8713,"main":8714,"secondary":8720,"reverse":24},"\u003Cp>“Dancing is a form of release – it clears the mind and opens space for reflection on life, ideas, and creative work”\u003C\u002Fp>\n",{"image":8715,"background":21,"fit":139},{"_id":8716,"url":8717,"alt":18,"caption":18,"credit":18,"width":8718,"height":8719},2659,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F53302802-79e5-11f1-8fc0-0242ac120003.jpeg",509,543,{"image":24,"background":21,"fit":22},{"_id":8722,"url":8723,"alt":18,"caption":18,"credit":18,"width":8701,"height":8701},1461,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-17.jpg",[8725],{"_id":33,"slug":34,"name":35},[8727,8731,8735,8741,8746,8751,8755,8760,8765,8770,8774,8779,8784,8789,8797,8802],{"questions":8728,"_type":45},[8729],{"question":1766,"answer":8730},"\u003Cp>We’re Yanik, Moritz, and Nils Balzer – three brothers working together under the name Balzer Balzer Studio. We were born and raised in Frankfurt am Main, but we live and work in Berlin.\u003C\u002Fp>\n",{"questions":8732,"_type":45},[8733],{"question":2426,"answer":8734},"\u003Cp>We run a multidisciplinary design studio. We create our own objects and functional sculptures, and we also work with corporate clients – developing store concepts, sets, and spatial experiences.\u003C\u002Fp>\n",{"images":8736,"size":56,"_type":57},[8737],{"_id":8738,"url":8739,"alt":18,"caption":18,"credit":18,"width":8701,"height":8740},1463,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-18.jpg",447,{"questions":8742,"_type":45},[8743],{"question":8744,"answer":8745},"\u003Cp>Many of your projects seem to carry traces of nightlife and communal energy. What draws you to these environments as sources of inspiration?\u003C\u002Fp>\n","\u003Cp>Rave culture has been a fundamental part of our identity. We’ve been actively involved in it for years, both as participants and contributors. Dancing is a form of release – it clears the mind and opens space for reflection on life, ideas, and creative work. That trance-like movement frees up mental space. Nightlife has also been a fertile ground for unexpected inspiration and connections. Many collaborations began during late-night club encounters.\u003C\u002Fp>\n",{"questions":8747,"_type":45},[8748],{"question":8749,"answer":8750},"\u003Cp>You frequently use industrial materials like stainless steel, polyurethane foam, and resin grids. What attracts you to these types of materials?\u003C\u002Fp>\n","\u003Cp>We’re drawn to these materials for their performance, accessibility, and expressive potential. Every material has something to offer, but metalworking is particularly familiar to us because Moritz also works at Ertl & Zull, a studio that specializes in metal fabrication.\u003Cbr \u002F>\nPolyurethane foam feels playful to work with – almost like sculpting with clay or Play-Doh – and it offers incredible flexibility, durability, and a fast curing time.\u003Cbr \u002F>\nThe resin grid material was introduced to us by our friends at RHO-Vision, two talented architects we occasionally collaborate with.\u003C\u002Fp>\n",{"images":8752,"size":56,"_type":57},[8753],{"_id":3398,"url":8754,"alt":18,"caption":18,"credit":18,"width":5526,"height":1817},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-17.jpg",{"questions":8756,"_type":45},[8757],{"question":8758,"answer":8759},"\u003Cp>You describe Cadaver as “the remains of past raves.” How important is it for your objects to capture emotional residue or memory?\u003C\u002Fp>\n","\u003Cp>Cadaver is actually a critical reflection on the darker side of nightlife – not just the hedonism and escapism, but the self-destructive behaviors we’ve witnessed over the years. These objects represent the toxins people ingest, the effects of sleep deprivation and malnutrition, and the emotional burnout that can result. In the worst cases, this leads to hospitalization or even death.\u003Cbr \u002F>\nThe Cadaver pieces take on a flesh-like appearance – they look solid and heavy but are surprisingly soft and bouncy. This contradiction mirrors the hidden vulnerability behind the tough exterior of nightlife culture.\u003C\u002Fp>\n",{"images":8761,"size":84,"_type":57},[8762],{"_id":8763,"url":8764,"alt":18,"caption":18,"credit":18,"width":3224,"height":309},1466,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-17.jpg",{"questions":8766,"_type":45},[8767],{"question":8768,"answer":8769},"\u003Cp>Are there any limitations or constraints that have pushed your creativity further?\u003C\u002Fp>\n","\u003Cp>Not really – we usually find creative solutions to whatever challenges come our way. We’ve reached a point where we prefer working with solid budgets and proper tools. It allows us to focus more on concept and quality.\u003C\u002Fp>\n",{"images":8771,"size":56,"_type":57},[8772],{"_id":5127,"url":8773,"alt":18,"caption":18,"credit":18,"width":1081,"height":753},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-16.jpg",{"questions":8775,"_type":45},[8776],{"question":8777,"answer":8778},"\u003Cp>Active Structure was designed for a techno club and described as a space for both retreat and stretching during a rave. How did the idea of movement and the body influence its design?\u003C\u002Fp>\n","\u003Cp>A great club is like a playground for adults. Active Structure is a functional sculpture that grows into a small spatial installation. Polished stainless steel tubes emerge from walls, twist and bend through the room, and disappear again into the architecture – floor, ceiling, or wall.\u003Cbr \u002F>\nThe idea was that these “growing” forms would appear throughout different parts of the club, establishing a recurring motif – almost like a heartbeat. Our references ranged from playgrounds to particle accelerators.\u003Cbr \u002F>\nWhile the architects (Studio Karhard) envisioned the space as a cruising zone and retreat, we saw an opportunity to make it a place for stretching and reactivating the body – something especially important during long nights of dancing, sometimes clocking in 50,000 steps or more. It’s about listening to your body, staying grounded, and being present in your physical form.\u003C\u002Fp>\n",{"variant":1116,"images":8780,"_type":73},[8781],{"_id":1646,"url":8782,"alt":18,"caption":18,"credit":18,"width":8783,"height":92},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-17.jpg",422,{"questions":8785,"_type":45},[8786],{"question":8787,"answer":8788},"\u003Cp>Which project sparked the most unexpected reactions or conversations from others?\u003C\u002Fp>\n","\u003Cp>Our Bubble-Lights get the most consistent praise – no surprise, as they’re beautiful and immediately eye-catching.\u003Cbr \u002F>\nBut the most unexpected reactions come from the Cadaver sculptures. People are shocked when they realize the seemingly stone-like forms are actually soft and bouncy. It triggers a kind of childlike curiosity and tactile engagement, which we love to see.\u003C\u002Fp>\n",{"variant":1116,"images":8790,"_type":73},[8791,8794],{"_id":8792,"url":8793,"alt":18,"caption":18,"credit":18,"width":6329,"height":753},1468,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-16.jpg",{"_id":8795,"url":8796,"alt":18,"caption":18,"credit":18,"width":6329,"height":753},1469,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-12.jpg",{"questions":8798,"_type":45},[8799],{"question":8800,"answer":8801},"\u003Cp>Is there a project that had the most surprising material outcome or transformation?\u003C\u002Fp>\n","\u003Cp>Not really. We always begin with material tests and prototyping before moving into production. That process allows us to anticipate and avoid any unwanted surprises. It’s an essential part of how we work – making sure we fully understand a material’s behavior before committing to a final form.\u003C\u002Fp>\n",{"questions":8803,"_type":45},[8804],{"question":638,"answer":8805},"\u003Cp>Our studio is located in Kreuzberg, Berlin – we welcome visitors by appointment only.\u003Cbr \u002F>\nYou can visit our website \u003Ca href=\"https:\u002F\u002Fwww.balzerbalzer.com\u002F?utm_source=ig&utm_medium=social&utm_content=link_in_bio\">balzerbalzer.com\u003C\u002Fa> for an overview of our work (though it’s not always up to date). For the latest updates, follow us on Instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fbalzerbalzer_studio\u002F\">@balzerbalzer_studio\u003C\u002Fa>.\u003Cbr \u002F>\nWe’re currently launching an exciting new collaboration with Vaust Gallery, which will be shipped to Dubai this autumn.\u003C\u002Fp>\n\u003Cp>Lastly, I kindly ask you to consider supporting our friends at the K41 Community Fund. This initiative is run by the team behind K41, the club in Kyiv we had the honor and pleasure of working with. They are doing incredible work supporting their community during these challenging times, and every bit of help makes a difference. Thank you so much for your support. \u003Ca href=\"https:\u002F\u002Fk41community.fund\u002Fen\u002F\">https:\u002F\u002Fk41community.fund\u002Fen\u002F\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":1929,"slug":8807,"name":8808,"index":8809,"date":8810,"thumbnails":8811,"description":18,"footerImage":8817,"categories":8821,"sections":8823},"zelig-davoult-2","Zélig Davoult.",68,"2025-08-04",{"quote":8812,"main":8813,"secondary":8816,"reverse":24},"\u003Cp>“It’s nearly impossible to dress without making a political statement…”\u003C\u002Fp>\n",{"image":8814,"background":21,"fit":22},{"_id":6574,"url":8815,"alt":18,"caption":18,"credit":18,"width":136,"height":1646},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-18.jpg",{"image":24,"background":21,"fit":22},{"_id":8818,"url":8819,"alt":18,"caption":18,"credit":18,"width":8130,"height":8820},1475,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-17.jpg",2171,[8822],{"_id":240,"slug":2416,"name":2417},[8824,8828,8832,8840,8845,8850,8855,8858,8863,8869,8874,8883,8888,8896,8901,8905,8909,8914,8920,8924,8929,8935],{"questions":8825,"_type":45},[8826],{"question":1766,"answer":8827},"\u003Cp>My name is Zélig Davoult. I’m from a small town in northern France where I spent my childhood, and I moved to Paris three years ago to join the IFM Bachelor of Arts program.\u003C\u002Fp>\n",{"questions":8829,"_type":45},[8830],{"question":2426,"answer":8831},"\u003Cp>I’m a fashion designer (or aspiring to become one). I create garments and try to convey messages through my designs.\u003C\u002Fp>\n",{"variant":1179,"images":8833,"_type":73},[8834,8837],{"_id":8835,"url":8836,"alt":18,"caption":18,"credit":18,"width":8130,"height":8820},2632,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-19-edit.jpg",{"_id":8838,"url":8839,"alt":18,"caption":18,"credit":18,"width":8130,"height":8820},1477,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-18.jpg",{"questions":8841,"_type":45},[8842],{"question":8843,"answer":8844},"\u003Cp>Your work clearly speaks volumes—when did you realize fashion could be such a powerful tool for expression?\u003C\u002Fp>\n","\u003Cp>Almost as soon as I became genuinely interested in fashion as an art form. I remember watching a documentary about Vivienne Westwood and seeing her Anarchy Shirt—simple in shape but covered in bold graphics opposing the system—and falling in love with it. That was the exact moment I understood I wanted to do fashion—and that I could do it in a political way.\u003C\u002Fp>\n",{"images":8846,"size":56,"_type":57},[8847],{"_id":8848,"url":8849,"alt":18,"caption":18,"credit":18,"width":2728,"height":2728},1478,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3b118d8c6d70d0495ce6770922ed9048.jpg",{"questions":8851,"_type":45},[8852],{"question":8853,"answer":8854},"\u003Cp>How do you see fashion functioning as a form of resistance or political expression today?\u003C\u002Fp>\n","\u003Cp>It’s nearly impossible to dress without making a political statement. Every outfit signals your social sphere or the one you aspire to. What some see as “homeless chic” actually underscores a real social divide that mirrors political issues. Fashion is a space to express who you are and what you believe.\u003C\u002Fp>\n",{"images":8856,"size":56,"_type":57},[8857],{"_id":8818,"url":8819,"alt":18,"caption":18,"credit":18,"width":8130,"height":8820},{"questions":8859,"_type":45},[8860],{"question":8861,"answer":8862},"\u003Cp>Many of your works hide the face—through cloth, shadow, or positioning. What does this concealment represent for you?\u003C\u002Fp>\n","\u003Cp>It’s very important to me. I love erasing individual identity through my silhouettes—it reinforces the idea of collective resistance. In my last collection, I wanted viewers to focus on the messages rather than the person wearing the garment. Inspired by street protesters, I aimed for a uniform effect, underscoring unity in struggle.\u003C\u002Fp>\n",{"images":8864,"size":84,"_type":57},[8865],{"_id":8866,"url":8867,"alt":18,"caption":18,"credit":18,"width":8868,"height":8318},1479,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-17.jpg",2117,{"questions":8870,"_type":45},[8871],{"question":8872,"answer":8873},"\u003Cp>The keffiyeh appears as a recurring motif in your work. What does it symbolize to you?\u003C\u002Fp>\n","\u003Cp>Resistance. When I was developing my collection, the genocide in Gaza was under‐reported, so it felt necessary to shed light on the situation in the way I know best—through fashion. The keffiyeh was the clearest way to illustrate that point.\u003C\u002Fp>\n",{"variant":1179,"images":8875,"_type":73},[8876,8880],{"_id":8877,"url":8878,"alt":18,"caption":18,"credit":18,"width":8879,"height":1790},1480,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-18-scaled.jpg",2009,{"_id":8881,"url":8882,"alt":18,"caption":18,"credit":18,"width":8879,"height":1790},1481,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-18-scaled.jpg",{"questions":8884,"_type":45},[8885],{"question":8886,"answer":8887},"\u003Cp>You use oversized silhouettes and heavy layering—how do these sculptural forms relate to your ideas?\u003C\u002Fp>\n","\u003Cp>Protection. Beyond the obvious messages, I wanted to create “riot wear”—garments shaped to evoke protest gear. Even before this collection, I imagined my models hidden and protected by their outfits. For instance, the hoodie isn’t made from classic fleece; I developed a thick, reinforced fleece to suggest a bullet‐proof texture.\u003C\u002Fp>\n",{"variant":1116,"images":8889,"_type":73},[8890,8893],{"_id":8891,"url":8892,"alt":18,"caption":18,"credit":18,"width":8879,"height":1790},1482,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-17-scaled.jpg",{"_id":8894,"url":8895,"alt":18,"caption":18,"credit":18,"width":8879,"height":1790},1483,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-17-scaled.jpg",{"questions":8897,"_type":45},[8898],{"question":8899,"answer":8900},"\u003Cp>What kind of research or personal references shaped this collection?\u003C\u002Fp>\n","\u003Cp>It may sound strange, but this collection is shaped by my childhood. My parents were deeply committed to social and political resistance, and I was raised in that environment, attending protests on their shoulders. I also drew on childhood movies and books—Star Wars, Dune, Spider‐Man—which subconsciously influenced the superhero‐like postures and masks of my silhouettes, as if they were real‐life heroes.\u003C\u002Fp>\n",{"images":8902,"size":56,"_type":57},[8903],{"_id":8478,"url":8904,"alt":18,"caption":18,"credit":18,"width":8879,"height":1790},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-13-scaled.jpg",{"variant":94,"quote":8906,"width":8907,"image":24,"reverse":24,"_type":8908},"My parents were deeply committed to social and political resistance, and I was raised in that environment, attending protests on their shoulders.","wide","quote_section",{"questions":8910,"_type":45},[8911],{"question":8912,"answer":8913},"\u003Cp>You include subtle but powerful symbols, fabrics, gestures, textures. Could you walk us through some hidden details people might overlook?\u003C\u002Fp>\n","\u003Cp>On the keffiyeh dress, there’s a small red print on the back reading GAZA SOCCER BEACH, referencing Médine’s song. The raglan sleeves mimic a football jersey, linking the graphic to that inspiration.\u003Cbr \u002F>\nMy firefighter parka inverts the traditional red‐and‐yellow color scheme to suggest that firefighters bring fire—metaphorically sparking revolt—instead of extinguishing it.\u003C\u002Fp>\n",{"variant":1116,"images":8915,"_type":73},[8916],{"_id":8917,"url":8918,"alt":18,"caption":18,"credit":18,"width":7730,"height":8919},1485,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-14.jpg",1695,{"images":8921,"size":84,"_type":57},[8922],{"_id":7418,"url":8923,"alt":18,"caption":18,"credit":18,"width":7730,"height":3396},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-12.jpg",{"questions":8925,"_type":45},[8926],{"question":8927,"answer":8928},"\u003Cp>Are there specific artists, filmmakers, or thinkers that influenced how you approached this body of work?\u003C\u002Fp>\n","\u003Cp>Yes. Vivienne Westwood’s punk‐political stance first showed me how fashion and activism can merge. I also drew inspiration from documentary photographers like Bruno Barbey and Sebastião Salgado, whose images of social struggle shaped my visual narrative. Writers such as Edward Said and Angela Davis influenced my understanding of power and identity, while musicians like Médine and Public Enemy inspired my use of slogans and lyrical references in textile prints.\u003C\u002Fp>\n",{"images":8930,"size":56,"_type":57},[8931],{"_id":8932,"url":8933,"alt":18,"caption":18,"credit":18,"width":8934,"height":3396},1487,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-6.jpg",1586,{"questions":8936,"_type":45},[8937],{"question":638,"answer":8938},"\u003Cp>You can follow my work and process on Instagram @zelighd. I’m also preparing presentations of my collection at upcoming design festivals (dates to be announced) and will share progress on new projects —focused next on under‐reported conflicts and still these ideas of protest—through my digital channels.\u003C\u002Fp>\n",{"_type":6,"_id":8940,"slug":8941,"name":8942,"index":8943,"date":8944,"thumbnails":8945,"description":18,"footerImage":8952,"categories":8955,"sections":8957},1489,"martin-josserand-2","Martin Josserand",69,"2025-08-06",{"quote":8946,"main":8947,"secondary":8951,"reverse":24},"\u003Cp>“What I didn’t show is just as important as what I did…”\u003C\u002Fp>\n",{"image":8948,"background":21,"fit":22},{"_id":8949,"url":8950,"alt":18,"caption":18,"credit":18,"width":8934,"height":3396},2676,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-19-edit.jpg",{"image":24,"background":21,"fit":22},{"_id":8953,"url":8954,"alt":18,"caption":18,"credit":18,"width":136,"height":135},1491,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F528148759_1928552761274982_3101175919328204905_n.jpg",[8956],{"_id":1739,"slug":7913,"name":7914},[8958,8962,8966,8972,8977,8982,8987,8994,8999,9004,9009,9014,9022,9027,9031,9036,9042],{"questions":8959,"_type":45},[8960],{"question":8619,"answer":8961},"\u003Cp>My name is Martin Josserand. I’m a photographer based in Paris, France.\u003C\u002Fp>\n",{"questions":8963,"_type":45},[8964],{"question":2426,"answer":8965},"\u003Cp>I work between documentary and commercial photography, exploring how people move through the world, with a focus on labor, gestures, and the quiet strength found in everyday lives.\u003C\u002Fp>\n",{"images":8967,"size":56,"_type":57},[8968],{"_id":8969,"url":8970,"alt":18,"caption":18,"credit":18,"width":5618,"height":8971},1492,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-18.jpg",2032,{"questions":8973,"_type":45},[8974],{"question":8975,"answer":8976},"\u003Cp>What first drew you to Madagascar’s vanilla fields, and when did you realize this project was about more than vanilla itself?\u003C\u002Fp>\n","\u003Cp>It started as a curiosity. I had heard about vanilla being one of the most expensive spices in the world, yet grown in some of the poorest regions. When I arrived in Sambava, I met farmers who welcomed me into their routines. Pretty quickly, I understood the story wasn’t about vanilla, it was about the people behind it: their resilience, pride, and the tension between value and invisibility.\u003C\u002Fp>\n",{"images":8978,"size":84,"_type":57},[8979],{"_id":8980,"url":8981,"alt":18,"caption":18,"credit":18,"width":5618,"height":8308},1493,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-20.jpg",{"questions":8983,"_type":45},[8984],{"question":8985,"answer":8986},"\u003Cp>The title ‘Where the Struggles Bloom’ is loud. How did you land on it, and what does “blooming” mean in this context?\u003C\u002Fp>\n","\u003Cp>I wanted a title that acknowledged the weight of the work, but also the dignity and grace within it. “Struggles” are everywhere, in the soil, the heat, the waiting, the uncertainty. But “blooming” speaks to something else: the persistence of beauty, of strength, of life, even in difficult conditions. It’s about endurance that becomes expression.\u003C\u002Fp>\n",{"variant":1116,"images":8988,"_type":73},[8989,8992],{"_id":8990,"url":8991,"alt":18,"caption":18,"credit":18,"width":3850,"height":8308},1494,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-19.jpg",{"_id":6995,"url":8993,"alt":18,"caption":18,"credit":18,"width":3850,"height":8308},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-18.jpg",{"questions":8995,"_type":45},[8996],{"question":8997,"answer":8998},"\u003Cp>What kind of relationships did you build with those you documented, and how did those relationships shape what you chose to show?\u003C\u002Fp>\n","\u003Cp>I built slow, respectful relationships. I spent time without my camera, just listening. Over time, trust formed. That trust shaped everything, what I photographed, how I framed things, and when I chose to step back. I wanted the people to feel visible, not exposed. What I didn’t show is just as important as what I did.\u003C\u002Fp>\n",{"questions":9000,"_type":45},[9001],{"question":9002,"answer":9003},"\u003Cp>Did your own perspective shift as the project evolved?\u003C\u002Fp>\n","\u003Cp>Absolutely. Politically, I became more aware of how deep global inequalities run and how casually we benefit from them. Emotionally, it was humbling. These were not stories of victimhood, but of pride and tenacity. Ethically, it made me question the line between documenting and extracting, something I still sit with.\u003C\u002Fp>\n",{"images":9005,"size":139,"_type":57},[9006],{"_id":6935,"url":9007,"alt":18,"caption":18,"credit":18,"width":9008,"height":8308},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-19.jpg",1981,{"questions":9010,"_type":45},[9011],{"question":9012,"answer":9013},"\u003Cp>Can you speak about the choice to draw parallels between vanilla workers and street fighters? What kind of symbolism were you reaching for?\u003C\u002Fp>\n","\u003Cp>Both are fighting, physically, symbolically, for survival and recognition. One in the fields, the other in improvised arenas. Both are under intense pressure, overlooked by formal systems, and yet deeply rooted in ritual, discipline, and community. It was my way of creating a visual metaphor for resistance, of connecting beauty and brutality.\u003C\u002Fp>\n",{"variant":1179,"images":9015,"_type":73},[9016,9019],{"_id":9017,"url":9018,"alt":18,"caption":18,"credit":18,"width":9008,"height":8308},1497,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-19.jpg",{"_id":9020,"url":9021,"alt":18,"caption":18,"credit":18,"width":9008,"height":8308},1498,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-18.jpg",{"questions":9023,"_type":45},[9024],{"question":9025,"answer":9026},"\u003Cp>The self-published book makes the work more intimate. What were you hoping readers would feel while holding it?\u003C\u002Fp>\n","\u003Cp>I wanted it to feel like holding a piece of someone’s story, something tactile, not mediated by algorithms or platforms. The paper, the size, the pace of the images: it’s meant to slow you down. To make you sit with the people inside it. If the reader feels closeness, then I’ve done my job.\u003C\u002Fp>\n",{"images":9028,"size":84,"_type":57},[9029],{"_id":2029,"url":9030,"alt":18,"caption":18,"credit":18,"width":9008,"height":8308},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-18.jpg",{"questions":9032,"_type":45},[9033],{"question":9034,"answer":9035},"\u003Cp>Do you see this work as part of a larger commitment to documenting labor or global inequalities? What’s next?\u003C\u002Fp>\n","\u003Cp>Yes, it’s definitely part of a larger path. I’m drawn to stories where dignity is constantly negotiated, whether in fields, factories, or informal economies. Right now, I’m already working on new projects in Egypt in particular. It’s a very different context, but again, it’s about labor, pride, and invisible worlds.\u003C\u002Fp>\n",{"variant":1116,"images":9037,"_type":73},[9038,9040],{"_id":357,"url":9039,"alt":18,"caption":18,"credit":18,"width":9008,"height":8308},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-14.jpg",{"_id":256,"url":9041,"alt":18,"caption":18,"credit":18,"width":9008,"height":8308},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-15.jpg",{"questions":9043,"_type":45},[9044],{"question":638,"answer":9045},"\u003Cp>You can find me on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmartin.josserand\u002F\">@martinjosserand\u003C\u002Fa>, on my website \u003Ca href=\"http:\u002F\u002Fmartinjosserand.com\">martinjosserand.com\u003C\u002Fa>, or in Paris. And of course, through the pages of Where the Struggles Bloom.\u003C\u002Fp>\n",{"_type":6,"_id":4361,"slug":9047,"name":9048,"index":9049,"date":9050,"thumbnails":9051,"description":18,"footerImage":9058,"categories":9061,"sections":9063},"radical-softness","Radical Softness",70,"2025-08-08",{"quote":9052,"main":9053,"secondary":9057,"reverse":24},"\u003Cp>“I’ll find myself in between disciplines. And this is where I feel comfortable.”\u003C\u002Fp>\n",{"image":9054,"background":21,"fit":22},{"_id":9055,"url":9056,"alt":18,"caption":18,"credit":18,"width":4266,"height":8308},1505,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-19.jpg",{"image":24,"background":21,"fit":22},{"_id":9059,"url":9060,"alt":18,"caption":18,"credit":18,"width":4266,"height":8308},1504,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-20.jpg",[9062],{"_id":33,"slug":34,"name":35},[9064,9068,9072,9076,9081,9086,9091,9096,9102,9107,9111,9116,9123,9128,9133,9138],{"questions":9065,"_type":45},[9066],{"question":1766,"answer":9067},"\u003Cp>Hi, my Name is Niklas Jeroch. I am an artist and designer. Living and working in Berlin, Germany.\u003C\u002Fp>\n",{"questions":9069,"_type":45},[9070],{"question":2426,"answer":9071},"\u003Cp>My practice evolves around colour, cuteness, political change with a feminist and queer view point, shapes, 3D-printing and up cycling.\u003C\u002Fp>\n",{"images":9073,"size":56,"_type":57},[9074],{"_id":6940,"url":9075,"alt":18,"caption":18,"credit":18,"width":4266,"height":8308},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-21.jpg",{"questions":9077,"_type":45},[9078],{"question":9079,"answer":9080},"\u003Cp>Your name, Radical Softness, feels like a statement. What does “radical softness” mean to you in practice?\u003C\u002Fp>\n","\u003Cp>At Radical Softness, we defy conventions and embrace a lifestyle rooted in empowerment, innovation, and humanity. Our name reflects our belief that strength lies in vulnerability. We stand against capitalism, toxic masculinity, and inequality, championing feminism and supporting marginalized groups.\u003Cbr \u002F>\nTherefore it is a statement, but also our work ethic, and a value in life that the entire team (4 people working on the project Studio Radical Softness  – Maik Welland, Inga Krumme, Dr. Björn Eckhardt and me) lives by. It is our manifesto. Which you find fully on our website.\u003C\u002Fp>\n",{"images":9082,"size":56,"_type":57},[9083],{"_id":9084,"url":9085,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},1507,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-20.jpg",{"questions":9087,"_type":45},[9088],{"question":9089,"answer":9090},"\u003Cp>How do you navigate creating work that feels both gentle and rebellious at the same time?\u003C\u002Fp>\n","\u003Cp>First of all, I don’t know how to do things differently than how I do them. It stems from an upbringing in a hostile heteronormative world that made me feel uncomfortable most of my life in almost all parts of my life, This roughness developed into both directions: radicalize myself for safety reasons and become extra soft to build bridges. Creating anything really becomes the perfect mix of both of these strains. Everything that we make represents this belief system authentically. I studied art history and archaeology as a Bachelors degree and took a long detour in the fine arts realm as self taught artist and then ended up as a designer that is focusing on small limited editions and consciously produced artsy-design pieces. This said, I’ll find myself in between disciplines. And this is where I feel comfortable. I don’t fit in a box and this is why I can do what am doing.\u003C\u002Fp>\n",{"questions":9092,"_type":45},[9093],{"question":9094,"answer":9095},"\u003Cp>Can you share the story behind one of your objects, what sparked it, and how did it evolve?\u003C\u002Fp>\n","\u003Cp>The object that started it all is our bestseller – the Organic Angel Vase. While being an artist my entire life, I had a main focus on painting most of my adult life. In 2018 I started learning 3D-modelling, due to not having a studio at that time. I worked on my first 3D-prints and sculptures alongside Dr. Björn, who is the co-founder of Studio Radical Softness. We still work very tightly together when it comes to our design process. So over the years we worked on several designs\u002F sculptures\u002F objects.\u003Cbr \u002F>\nBut in 2022 I created the Organic Angel Vase truly by accident. I loved the design, the colors, the shine and that you could actually use the object as a vessel.\u003Cbr \u002F>\nI then had a solo show in a Gallery in Krefeld later the same year and showed 3 of these vases. They were sold out immediately. And this is something I have never experienced. Immediate sales plus a waiting list. At that time I was working part time at Platte in Berlin-Mitte (an amazing store in which we still sell our vases and other items) and we show cased the vases there first, to see how people reacted and well…3 years later and we now work with over 20 stores and we have a product range of over 15 items. I changed my focus from art to design, because I was finally able to gain regular sales and way more exposure through my creativity than ever before.\u003C\u002Fp>\n",{"variant":1116,"images":9097,"_type":73},[9098,9101],{"_id":9099,"url":9100,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},1508,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-19.jpg",{"_id":9055,"url":9056,"alt":18,"caption":18,"credit":18,"width":4266,"height":8308},{"questions":9103,"_type":45},[9104],{"question":9105,"answer":9106},"\u003Cp>Do you see your objects as evolving with each piece you make, or do you prefer them to feel like singular works?\u003C\u002Fp>\n","\u003Cp>The beautiful thing about the design world is that it is not as stiff as the art world. You can call the things you make limited edition, you can change colourways for the same object or you can simply create something completely else. It doesn’t have to fit in with your own style or aesthetic. So I would say, to answer your question, everything that I make is to be viewed singularly.\u003C\u002Fp>\n",{"images":9108,"size":56,"_type":57},[9109],{"_id":5267,"url":9110,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-20.jpg",{"questions":9112,"_type":45},[9113],{"question":9114,"answer":9115},"\u003Cp>How does Berlin, as a city, influence your creative energy and values?\u003C\u002Fp>\n","\u003Cp>I moved to Berlin 10 years ago, thinking that I would continue to work in galleries, art book publishing houses or museums. But Berlin actually opened up the possibility for me to think that I could become an artist myself. There is so much nerdy creativity in this city:, if it’s the music scene, drag, party, fashion, art, design. You name it. You have it all. But what makes it really special here and I haven’t found it anywhere else in Europe is the political motivation of everyone being involved in creative processes: the openness of the struggles of choosing this life. But what I also love is that people make concious choices regarding their production. There is so much upcycling, re-use and re-purposing of materials here. It is nice to have people around me who truly get what I am doing.\u003C\u002Fp>\n",{"variant":1116,"images":9117,"_type":73},[9118,9121],{"_id":9119,"url":9120,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},1510,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-20.jpg",{"_id":1493,"url":9122,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-19.jpg",{"questions":9124,"_type":45},[9125],{"question":9126,"answer":9127},"\u003Cp>Have you found any unexpected conversations sparked by your work?\u003C\u002Fp>\n","\u003Cp>Surprisingly not. Everyone agrees with the fact that the future should be queer\u002F FLINTA. That it should be more eco-conscious, that we should focus on affordable housing and a social system that fights the current power structures.\u003Cbr \u002F>\nI am happy to receive support from all sides. I´d love to have more uncomfortable conversations. But then again. I live in a very woke bubble.\u003C\u002Fp>\n",{"questions":9129,"_type":45},[9130],{"question":9131,"answer":9132},"\u003Cp>What’s one small act of “radical softness” you wish people practiced more often?\u003C\u002Fp>\n","\u003Cp>I deeply wish that people would be able to see and accept that humans are all equal. We all share the same feelings. The same struggles. Acknowledging this would help so much to talk about emotions and deeply connect. A small act of radical softness is to share how you truly feel. even though it is scary at first – this is true strength and creates community and connection.\u003C\u002Fp>\n",{"images":9134,"size":56,"_type":57},[9135],{"_id":9136,"url":9137,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},1512,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-19.jpg",{"questions":9139,"_type":45},[9140],{"question":638,"answer":9141},"\u003Cp>People can find us in different physical spaces throughout Europe ( concept stores and museum shops), but also online https:\u002F\u002Fwww.radicalsoftness.org\u003C\u002Fp>\n",{"_type":6,"_id":9143,"slug":9144,"name":9145,"index":9146,"date":9147,"thumbnails":9148,"description":18,"footerImage":9155,"categories":9158,"sections":9160},1514,"wasted-time","Wasted Time",71,"2025-08-11",{"quote":9149,"main":9150,"secondary":9154,"reverse":24},"\u003Cp>“I believe handmade and craft-based processes are the most meaningful way to complement contemporary design…”\u003C\u002Fp>\n",{"image":9151,"background":21,"fit":22},{"_id":9152,"url":9153,"alt":18,"caption":18,"credit":18,"width":8877,"height":6393},1516,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-20.jpg",{"image":24,"background":21,"fit":22},{"_id":9156,"url":9157,"alt":18,"caption":18,"credit":18,"width":4266,"height":5677},1515,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-21.jpg",[9159],{"_id":2159,"slug":7650,"name":7651},[9161,9165,9169,9175,9180,9189,9194,9201,9206,9215,9220,9228,9233,9238,9244,9249,9257,9265,9270],{"questions":9162,"_type":45},[9163],{"question":1766,"answer":9164},"\u003Cp>My name is Basile Jeandin. I was born and raised in Geneva, and for the past nine years, I’ve been living between my hometown and Lisbon. While I’m mostly based in Lisbon, I work between Switzerland and Portugal.\u003C\u002Fp>\n",{"questions":9166,"_type":45},[9167],{"question":2426,"answer":9168},"\u003Cp>I have a background in visual communication, with a degree from the Faculty of Fine Arts in Lisbon (Faculdade de Belas Artes da Universidade de Lisboa). During my studies, I became super drawn to typography and printmaking—I remember developing side projects around those passions from early on. From the beginning, my plan was always to create bold, distinctive visual identities for all kinds of clients—that’s what excited me then, and still does today.\u003Cbr \u002F>\nLater, while working on a branding project for a friend who had also moved to Lisbon, I discovered sign writing. I’ve always loved working with my hands, and this craft offered the perfect mix of design and physicality: part digital, part manual.\u003Cbr \u002F>\nThe edition work—and eventually Wasted Time—came as a natural extension of this desire to push my practice even further into the physical realm.\u003Cbr \u002F>\nSorry, digressing a bit here 😉 in a few words:\u003Cbr \u002F>\nI’m an art director specialised in branding, with a strong passion for historical art forms. I believe handmade and craft-based processes are the most meaningful way to complement contemporary design. My practice centers around typography, sign painting, printmaking, and illustration.\u003C\u002Fp>\n",{"variant":1116,"images":9170,"_type":73},[9171,9173],{"_id":1758,"url":9172,"alt":18,"caption":18,"credit":18,"width":8877,"height":1603},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-22.jpg",{"_id":2749,"url":9174,"alt":18,"caption":18,"credit":18,"width":8877,"height":1603},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-21.jpg",{"questions":9176,"_type":45},[9177],{"question":9178,"answer":9179},"\u003Cp>What does the name wasted time mean to you?\u003C\u002Fp>\n","\u003Cp>Well, first of all, it sounds good 🙂\u003C\u002Fp>\n\u003Cp>More seriously, it has several meanings:\u003C\u002Fp>\n\u003Cp>it is a subtle way of saying, “we are going à contre-courant with everything that is happening now in this hyper-digital, throwaway plastic age, where we’ve forgotten that good things take time, where we crave everything instantly with no patience. Beauty is a slow process that takes time. We stand with beauty”\u003C\u002Fp>\n\u003Cp>It’s my way of describing the absurd amount of time I willingly pour into making each edition—something I genuinely love, though it often feels at odds with today’s fast-paced, efficiency-obsessed professional world. Everything is carefully considered, slowly developed, and precisely crafted. No shortcuts, no compromises on quality. Always craft over industry, always process over productivity. A stubborn commitment to a pure—perhaps naïve—vision of beauty, upheld at every level.\u003Cbr \u002F>\nThat’s what we literally mean by Idealist Materialism or Materialist Idealism: not a slogan, but a literal stance.\u003C\u002Fp>\n\u003Cp>It’s also an ode to exploration—pushing boundaries, stepping outside your comfort zone, learning and sharing with others, and staying creative in how you approach and solve problems.\u003C\u002Fp>\n",{"variant":1116,"images":9181,"_type":73},[9182,9186],{"_id":9183,"url":9184,"alt":18,"caption":18,"credit":18,"width":8216,"height":9185},1519,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-20.jpg",2093,{"_id":9187,"url":9188,"alt":18,"caption":18,"credit":18,"width":8216,"height":9185},1520,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-21.jpg",{"questions":9190,"_type":45},[9191],{"question":9192,"answer":9193},"\u003Cp>Wasted Time began as a platform for limited-edition handcrafted objects and has since evolved into a full creative workshop and platform. Can you tell us more about how this transformation came about?\u003C\u002Fp>\n","\u003Cp>Absolutely. To sum it up: the project began with the ambition of releasing limited editions—some born from collaborations with artists and craftsmen, others simply my own creations. This unfolded alongside my ongoing work as an independent art director and sign painter on private commissions.\u003C\u002Fp>\n\u003Cp>Over time, I started to realize that the energy and time I was pouring into WT were adding a significant amount of stress and workload. That’s when things became clear: the project had already taken shape, the portfolio was strong, and it was time to bridge my various practices into one clear, cohesive entity people could recognize and connect with.\u003C\u002Fp>\n\u003Cp>I’m currently in the middle of that transition—still shaping the tone and refining the tools that will communicate it, from the website to social media and beyond. By the end of the year, (hopefully) WT will have evolved into a fully formed creative studio—one that stays true to its original values: handmade, human-centered art direction, rooted in craft and process.\u003C\u002Fp>\n",{"variant":1116,"images":9195,"_type":73},[9196,9199],{"_id":9197,"url":9198,"alt":18,"caption":18,"credit":18,"width":8216,"height":1036},1521,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-21.jpg",{"_id":3543,"url":9200,"alt":18,"caption":18,"credit":18,"width":8216,"height":1036},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-20.jpg",{"questions":9202,"_type":45},[9203],{"question":9204,"answer":9205},"\u003Cp>How do you envision Wasted Time’s role in bridging the worlds of craft, art, and design?\u003C\u002Fp>\n","\u003Cp>WT—both in its original and future form—is a practice that blurs the boundaries between these worlds. It does so by drawing from all three throughout every stage of the process. This approach is one of the reasons the project’s production atelier is based in Lisbon, a city with a deep-rooted tradition of craftsmanship.\u003Cbr \u002F>\nIn its next chapter, WT will continue to uphold these values—fostering collaborations with artists and artisans, this time in the service of private clients.\u003C\u002Fp>\n",{"variant":1179,"images":9207,"_type":73},[9208,9212],{"_id":9209,"url":9210,"alt":18,"caption":18,"credit":18,"width":7625,"height":9211},1524,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-20.jpg",1729,{"_id":9213,"url":9214,"alt":18,"caption":18,"credit":18,"width":7625,"height":9211},1525,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-15.jpg",{"questions":9216,"_type":45},[9217],{"question":9218,"answer":9219},"\u003Cp>What role do residencies play within the vision of Wasted Time?\u003C\u002Fp>\n","\u003Cp>Residencies played a pivotal role in shaping the project—though they weren’t part of the original plan. At first, WT was conceived as a more solitary, merchandise-focused initiative. But as things unfolded, I was fortunate to cross paths with my partner and love of my life, Anaïs Wenger (whose practice you should check :), a contemporary artist whose perspective and network proved instrumental.\u003Cbr \u002F>\nHer influence pushed the project far beyond its original boundaries. She played a key role in shaping the residency program, which brought a welcome sense of unpredictability and creative depth to WT. It allowed for a more open, collaborative approach—one that embraced multiple voices, unexpected outcomes, and richer perspectives.\u003Cbr \u002F>\nI’m incredibly grateful to her for opening that door. It fundamentally reshaped what the project could be.\u003C\u002Fp>\n",{"variant":1116,"images":9221,"_type":73},[9222,9225],{"_id":9223,"url":9224,"alt":18,"caption":18,"credit":18,"width":5255,"height":9211},1526,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-16.jpg",{"_id":9226,"url":9227,"alt":18,"caption":18,"credit":18,"width":5255,"height":9211},1527,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-13.jpg",{"questions":9229,"_type":45},[9230],{"question":9231,"answer":9232},"\u003Cp>Are there any unexpected skills or ideas that often emerge during these residencies?\u003C\u002Fp>\n","\u003Cp>There wasn’t a single residency that didn’t challenge us. Each one pushed us out of our comfort zones and demanded its share of research, learning, improvisation, trial and error—and eventually, breakthroughs. It’s been a wild ride.\u003Cbr \u002F>\nWorking across such a wide range of editions—apparel, artist editions, consumables, printmaking, and more—requires constant exploration and an ongoing commitment to stay sharp and relevant.\u003Cbr \u002F>\nAs someone who tends to be in a rush, always eager to get things done, WT has taught me to slow down and truly appreciate the value of things made properly—without shortcuts, with care and intention.\u003C\u002Fp>\n",{"questions":9234,"_type":45},[9235],{"question":9236,"answer":9237},"\u003Cp>What kind of dialogue do you hope these residencies spark?\u003C\u002Fp>\n","\u003Cp>Many, actually 🙂 Each residency brings a new artist, a new world, a new energy. It’s both a challenge and a joy to exchange ideas, co-create, and ultimately arrive at something that resonates as much with their practice as with WT’s. I wouldn’t say it’s always easy—but it’s always meaningful, and certainly never boring. I also really enjoy the cultural blend that’s happening during the residencies, the artists bring their own baggage and it goes through the local culture and craft making it evolve into something new.\u003C\u002Fp>\n",{"images":9239,"size":56,"_type":57},[9240],{"_id":9241,"url":9242,"alt":18,"caption":18,"credit":18,"width":5255,"height":9243},1528,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-9.jpg",1547,{"questions":9245,"_type":45},[9246],{"question":9247,"answer":9248},"\u003Cp>Although each artist you work with has their own approach, there seems to be a common thread in the style of the works you produce. Do you intentionally choose artists whose aesthetics align with your personal taste at Wasted Time?\u003C\u002Fp>\n","\u003Cp>I believe the common thread you’re referring to comes from several aspects—there’s no single “style” I look for when selecting residents. Their work doesn’t need to perfectly align with WT’s aesthetic, but there has to be a genuine interest in their practice. Anything less would be counterproductive, if not completely self-defeating.\u003C\u002Fp>\n\u003Cp>Naturally, the choice of edition is key. It needs to sit at the intersection of the artist’s universe and WT’s values—something grounded in manual work and reflective of an artisan’s way of life. We’re definitely not chasing innovation for its own sake 🙂 But we do cast a wide net: universal ointments, brass rulers, silver rings, apparels, black garlic infused brandy, cyanotype kites. Whatever feels like it should be made, really.\u003C\u002Fp>\n\u003Cp>In the end, the real coherence comes through the visual identity of each piece. As the project’s art director, my role in these collaborations is twofold: to help shape and refine the edition itself, and to ensure it fits visually into a larger whole—a body of work that feels unmistakably WT, and that holds together over time.\u003C\u002Fp>\n",{"variant":1116,"images":9250,"_type":73},[9251,9254],{"_id":9252,"url":9253,"alt":18,"caption":18,"credit":18,"width":5255,"height":9243},1529,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F16-2.jpg",{"_id":9255,"url":9256,"alt":18,"caption":18,"credit":18,"width":5255,"height":9243},1530,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-7.jpg",{"variant":1116,"images":9258,"_type":73},[9259,9262],{"_id":9260,"url":9261,"alt":18,"caption":18,"credit":18,"width":5255,"height":9243},1531,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-3.jpg",{"_id":9263,"url":9264,"alt":18,"caption":18,"credit":18,"width":5255,"height":9243},1532,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F17.jpg",{"questions":9266,"_type":45},[9267],{"question":9268,"answer":9269},"\u003Cp>In your view, what makes a collaboration truly meaningful, not just in terms of results, but in experience?\u003C\u002Fp>\n","\u003Cp>For me, it’s the process that matters most—more than the final edition itself. When working with craft, it’s the process that defines the outcome, not the other way around. Everything hinges on the quality of the relationships we build while creating together. Different artists, different artisans, different editions—each one shaped by the collaboration behind it.\u003C\u002Fp>\n",{"questions":9271,"_type":45},[9272],{"question":638,"answer":9273},"\u003Cp>You’ll usually find me designing, painting, or printing in my workshop & showroom in Lisbon—unless I’m out at sea surfing. I also spend a lot of time in Geneva, where I’ve opened a second atelier.\u003C\u002Fp>\n\u003Cp>You can follow what we’re up to on the gram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fwastedtime.studio\u002F?g=5\">@wastedtime.studio\u003C\u002Fa>, and visit our site at \u003Ca href=\"https:\u002F\u002Fwastedtime.studio\u002F?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnraq0eWVmRhE7TYB9Jgsx9TWFTUShrZiR6_mBm7cXacfLluauLLXQcUTVvok_aem_Oqt74Str1nZ87FMi1YK5bw\">Wastedtime.studio\u003C\u002Fa>\u003C\u002Fp>\n\u003Cp>Too many projects in the works to keep track—best to follow along and see what happens 😉\u003C\u002Fp>\n",{"_type":6,"_id":5253,"slug":9275,"name":9276,"index":9277,"date":9278,"thumbnails":9279,"description":18,"footerImage":9286,"categories":9288,"sections":9290},"schnitt-magazine","Schnitt Magazine",72,"2025-08-14",{"quote":9280,"main":9281,"secondary":9285,"reverse":24},"\u003Cp>“For me, “beyond” means projects that dare to look past conventional boundaries”\u003C\u002Fp>\n",{"image":9282,"background":21,"fit":139},{"_id":9283,"url":9284,"alt":18,"caption":18,"credit":18,"width":5255,"height":6686},1535,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-21.jpg",{"image":24,"background":21,"fit":22},{"_id":3016,"url":9287,"alt":18,"caption":18,"credit":18,"width":5255,"height":9243},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-22.jpg",[9289],{"_id":2399,"slug":8268,"name":8269},[9291,9295,9299,9304,9309,9315,9320,9324,9329,9333,9338,9343,9348,9354,9359,9364,9369,9373,9378,9383,9388],{"questions":9292,"_type":45},[9293],{"question":1766,"answer":9294},"\u003Cp>Hi, my name is Caroline Steffen. I am a trained architect from Bonn, Germany, working at the intersection of architecture, writing, communication, and culture. My work is driven by a deep passion for storytelling and a strong visual sensibility. I am also the founder of Schnitt, a print and online magazine dedicated to the intersections of architecture with other disciplines.\u003C\u002Fp>\n",{"questions":9296,"_type":45},[9297],{"question":3060,"answer":9298},"\u003Cp>At Schnitt, I edit, write, and curate with curiosity at the heart of everything I do—constantly seeking out inspiring people, projects, and practices, and highlighting fresh, relevant voices. Beyond Schnitt, I also contribute as a writer to other magazines, broadening the conversation across diverse platforms.\u003C\u002Fp>\n",{"images":9300,"size":84,"_type":57},[9301],{"_id":9302,"url":9303,"alt":18,"caption":18,"credit":18,"width":5255,"height":5267},1537,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-23.jpg",{"questions":9305,"_type":45},[9306],{"question":9307,"answer":9308},"\u003Cp>Your background blends architecture, interior design, and communication. What first interested you in these domains?\u003C\u002Fp>\n","\u003Cp>I’ve been drawn to cities for as long as I can remember. Even as a child, I was fascinated by how our built environment shapes the way we live – long before I could explain why. Over time, I realised it’s the mix of architecture and culture that inspires me most. I’ve always imagined the lives unfolding behind façades – their routines, their spaces, their atmosphere – a habit that stayed with me even when I was sketching floor plans in an architecture office. That curiosity about how people live, and what influences those lives, has shaped my path ever since.\u003C\u002Fp>\n",{"variant":1116,"images":9310,"_type":73},[9311,9313],{"_id":1332,"url":9312,"alt":18,"caption":18,"credit":18,"width":5255,"height":5267},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-21.jpg",{"_id":841,"url":9314,"alt":18,"caption":18,"credit":18,"width":5255,"height":5267},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-22.jpg",{"questions":9316,"_type":45},[9317],{"question":9318,"answer":9319},"\u003Cp>What started the move from designing spaces to starting Schnitt magazine?\u003C\u002Fp>\n","\u003Cp>I’ve always been curious about what others in the field are working on and how they got there. Early in my studies, I discovered my love for graphic design and began creating small publications—an experience that sparked my interest in storytelling and the power of presenting projects in a tangible, visual form.\u003Cbr \u002F>\nWith Schnitt, I focus on those at the start of their careers – people driven by ideas rather than accolades, whose work feels authentic, relevant, and exciting.\u003C\u002Fp>\n",{"images":9321,"size":56,"_type":57},[9322],{"_id":1677,"url":9323,"alt":18,"caption":18,"credit":18,"width":8919,"height":6033},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-22.jpg",{"questions":9325,"_type":45},[9326],{"question":9327,"answer":9328},"\u003Cp>Schnitt started as a digital platform before becoming a print magazine, what changed once it became a physical object?\u003C\u002Fp>\n","\u003Cp>Schnitt started as a digital platform after I got in touch with Lukasz Ryszard Palczynski – an architect who, among other projects, designed the “Room for Listening” with Hania Rani, whose music I love. We exchanged messages, and Luka trusted me despite not knowing each other, which allowed me to quickly launch the website and share his story.\u003C\u002Fp>\n\u003Cp>After 1.5 years online, I wanted to bring more focus and turn Schnitt into a physical object. Moving to print changed the project by allowing us to explore specific themes in depth and curating a group of people around each topic. The magazine became a kind of small archive, offering a richer, more concentrated experience than the website’s broader approach.\u003C\u002Fp>\n\u003Cp>For our upcoming third issue on “Senses,” we’re going a step further with an exhibition called „Sensing Space“ where readers can engage with objects and positions from the magazine in real life at the Berlin design gallery MAJ VAN DER LINDEN.\u003C\u002Fp>\n",{"images":9330,"size":84,"_type":57},[9331],{"_id":6716,"url":9332,"alt":18,"caption":18,"credit":18,"width":8919,"height":6033},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-22.jpg",{"questions":9334,"_type":45},[9335],{"question":9336,"answer":9337},"\u003Cp>You feature projects that move beyond conventional architectural paths, what does “beyond” mean to you?\u003C\u002Fp>\n","\u003Cp>For me, “beyond” means projects that dare to look past conventional boundaries — that are bold enough to experiment with new materials, approaches, and concepts which may not be the safest choice, but have the potential to spark real change and to truly move people, engaging them on an emotional level. It’s about work that inspires others to think and act in ways that are more sustainable, inclusive, and courageous.\u003C\u002Fp>\n",{"images":9339,"size":56,"_type":57},[9340],{"_id":9341,"url":9342,"alt":18,"caption":18,"credit":18,"width":7592,"height":6033},1542,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-21.jpg",{"questions":9344,"_type":45},[9345],{"question":9346,"answer":9347},"\u003Cp>In your opinion, what’s the most urgent conversation we should be having about our built environment now?\u003C\u002Fp>\n","\u003Cp>For me, the most urgent conversation is about working much more with what we already have. That means reusing materials, avoiding demolition whenever possible, and designing projects in a way that allows them to be reintegrated into the cycle of use — a principle that, for me, applies to architecture at every scale, including design objects.\u003C\u002Fp>\n",{"images":9349,"size":56,"_type":57},[9350],{"_id":9351,"url":9352,"alt":18,"caption":18,"credit":18,"width":1308,"height":9353},1543,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-21.jpg",1679,{"questions":9355,"_type":45},[9356],{"question":9357,"answer":9358},"\u003Cp>What inspired you to start Letters to a Young Architect, was there a particular moment that led to it?\u003C\u002Fp>\n","\u003Cp>It’s a project that is very close to my heart. I started Letters to a Young Architect because I have always felt the architecture industry to be highly competitive — something that never aligned with my personal values. Both studying and practicing architecture can be extremely challenging, and I believe it’s important to create space for honest exchange.\u003C\u002Fp>\n\u003Cp>The idea was to invite people already working in the field to address the younger generation — to motivate them, shed light on challenges and systemic issues, and strengthen the sense of solidarity. The letters that came out of this were incredibly moving and powerful. We later brought the project into a second round together with the PAF community, hosting an online event where inspiring women from Germany, Belgium, and the Netherlands read their letters to the younger generation and discussed them together.\u003C\u002Fp>\n",{"images":9360,"size":56,"_type":57},[9361],{"_id":3453,"url":9362,"alt":18,"caption":18,"credit":18,"width":5554,"height":9363},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-14.jpg",1559,{"questions":9365,"_type":45},[9366],{"question":9367,"answer":9368},"\u003Cp>Have any of these letters or any of your articles sparked surprising responses with readers?\u003C\u002Fp>\n","\u003Cp>Yes, definitely. The authors of the letters told me that the process felt liberating for them, almost like a form of therapy, as it gave them space to reflect on their career and their early steps in the profession. Readers also responded very warmly — many reached out to ask if they could contribute themselves because they, too, had something they wanted to share. I wasn’t expecting that.\u003Cbr \u002F>\nYoung people, in particular, wrote to say how much the letters had helped them and how uplifting they found them. It wasn’t a single letter that stood out, but rather the variety of perspectives that resonated with so many people.\u003C\u002Fp>\n",{"images":9370,"size":56,"_type":57},[9371],{"_id":1962,"url":9372,"alt":18,"caption":18,"credit":18,"width":1308,"height":9353},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-16.jpg",{"questions":9374,"_type":45},[9375],{"question":9376,"answer":9377},"\u003Cp>What’s one emerging discipline or technology you think will have a big impact on architecture in the coming years?\u003C\u002Fp>\n","\u003Cp>I think we should definitely not underestimate or ignore the topic of AI. In both our last print edition and the upcoming one, Senses, we’ve spoken to people who are actively working with it. In Senses, for example, we talk to designer Tina Bobbe, who uses AI to create concepts that she then tries to bring to life.\u003C\u002Fp>\n\u003Cp>I believe it’s important to approach this technology with cautious openness — to reflect carefully on its implications while exploring how we can collaborate with it. AI can open up exciting new possibilities that have the potential to truly enrich our work, but it should always be accompanied by conscious, critical reflection.\u003C\u002Fp>\n",{"questions":9379,"_type":45},[9380],{"question":9381,"answer":9382},"\u003Cp>On your website, you have a section dedicated to guides for different places around the world, are there cities you haven’t featured yet but would love to add?\u003C\u002Fp>\n","\u003Cp>Oh, there are quite a few. So far, the cities we’ve featured are very Europe-focused. I would love to explore some Asian cities like Kyoto or Seoul, or places in South America such as Mexico City. Since we can’t possibly travel everywhere ourselves, we’re also thinking about putting out a call to our community in the future to contribute their own guides.\u003C\u002Fp>\n",{"images":9384,"size":56,"_type":57},[9385],{"_id":9386,"url":9387,"alt":18,"caption":18,"credit":18,"width":5554,"height":9363},1546,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-10.jpg",{"questions":9389,"_type":45},[9390],{"question":638,"answer":9391},"\u003Cp>You can find me and my work on schnitt-magazine.com and on Instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fschnitt_magazine\u002F\">@schnitt_magazine\u003C\u002Fa>. My other projects are featured on carolinesteffen.de, and you can also get a little glimpse into my life on Instagram at @\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcarolinesschulz\u002F\">carolinesschulz\u003C\u002Fa>. We’ll be launching the third issue of Schnitt, themed Senses, on October 9th at the Berlin design gallery MAJ VAN DER LINDEN, where we’ll also host a month-long exhibition on the theme of senses. I’ll be there in person for the launch and am really looking forward to meeting\u003C\u002Fp>\n",{"_type":6,"_id":9393,"slug":9394,"name":9395,"index":9396,"date":9397,"thumbnails":9398,"description":18,"footerImage":9404,"categories":9407,"sections":9409},1548,"mariana-romao","Mariana Romão",73,"2025-08-16",{"quote":9399,"main":9400,"secondary":9403,"reverse":24},"\u003Cp>“It eventually led to my first camera-less project, Aurora”\u003C\u002Fp>\n",{"image":9401,"background":21,"fit":22},{"_id":135,"url":9402,"alt":18,"caption":18,"credit":18,"width":2431,"height":5208},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-17.jpg",{"image":24,"background":21,"fit":22},{"_id":9405,"url":9406,"alt":18,"caption":18,"credit":18,"width":5554,"height":2144},1549,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-8.jpg",[9408],{"_id":127,"slug":146,"name":147},[9410,9414,9418,9424,9429,9437,9442,9450,9456,9461,9466,9471,9478,9483,9494,9499,9508,9513,9518,9523,9531],{"questions":9411,"_type":45},[9412],{"question":8619,"answer":9413},"\u003Cp>I’m Mariana Romão, born and raised in Lisbon. Since 2022 I’m based in Paris, yet my life and work continue to flow between the two cities. This movement shapes my perspective, allowing my practice to be nourished by both the light and rhythm of Lisbon and the vibrant cultural pulse of Paris.\u003C\u002Fp>\n",{"questions":9415,"_type":45},[9416],{"question":2426,"answer":9417},"\u003Cp>I’m a visual artist and my work explores the material and conceptual possibilities of photography. Through experimental approaches, both with and without a camera, I connect the medium to painting and sculpture. My process often begins from an intimate, personal space and expands toward broader, universal reflections.\u003C\u002Fp>\n",{"images":9419,"size":84,"_type":57},[9420],{"_id":9421,"url":9422,"alt":18,"caption":18,"credit":18,"width":9423,"height":4032},1551,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-23.jpg",1430,{"questions":9425,"_type":45},[9426],{"question":9427,"answer":9428},"\u003Cp>How did your relationship with photography begin?\u003C\u002Fp>\n","\u003Cp>My first steps in photography began at Lisbon’s Fine Arts School. It was there that I first learned to work with a camera and studio lights, as well as how to develop film and print in the darkroom. The photography department of my university had an experimental approach where the medium was not only documentary but also a plastic and expressive form. Alongside more traditional techniques, we had workshops on alternative processes such as cyanotype, photograms, pinhole photography, chemigrams and lumen prints. I got familiar with these techniques at the same time I got to know a camera. For me, it’s been always the same thing. Although I explored other mediums like video installation and performance, photography was the one that best translated anything I wanted to express.\u003C\u002Fp>\n",{"variant":1116,"images":9430,"_type":73},[9431,9434],{"_id":9432,"url":9433,"alt":18,"caption":18,"credit":18,"width":9423,"height":4032},1552,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-24.jpg",{"_id":9435,"url":9436,"alt":18,"caption":18,"credit":18,"width":9423,"height":4032},1553,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-22.jpg",{"questions":9438,"_type":45},[9439],{"question":9440,"answer":9441},"\u003Cp>What led you to experiment beyond the camera?\u003C\u002Fp>\n","\u003Cp>When I started learning photography, my cousin gave me an old Instax 100, a camera that she had “stolen” from my mom. It was so fun, I would take it almost everywhere with me and randomly shoot friends and weird stuff. It was made of plastic and I was a bit wild with it. When it broke and started doing crazy stuff, I began experimenting and quickly realised I didn’t need a camera. This curiosity grew into a real obsession and I started applying some techniques I learnt from fine arts school on these instantaneous films. It eventually led to my first camera-less project, Aurora. Working this way still makes me feel like a child again, testing and discovering new possibilities through play.\u003C\u002Fp>\n",{"variant":1116,"images":9443,"_type":73},[9444,9447],{"_id":9445,"url":9446,"alt":18,"caption":18,"credit":18,"width":6395,"height":4032},1554,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-23.jpg",{"_id":9448,"url":9449,"alt":18,"caption":18,"credit":18,"width":6395,"height":4032},1555,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-22.jpg",{"variant":176,"images":9451,"_type":73},[9452,9454],{"_id":6984,"url":9453,"alt":18,"caption":18,"credit":18,"width":6395,"height":4032},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-23.jpg",{"_id":4459,"url":9455,"alt":18,"caption":18,"credit":18,"width":6395,"height":4032},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-23.jpg",{"questions":9457,"_type":45},[9458],{"question":9459,"answer":9460},"\u003Cp>You move fluidly between darkroom experimentation, photograms, and chemigrams. How would you describe your practice to someone unfamiliar with alternative photographic methods?\u003C\u002Fp>\n","\u003Cp>My practice goes beyond the camera. I experiment directly on photographic materials in the\u003Cbr \u002F>\ndarkroom using techniques like photograms, chemigrams, and luminograms, creating images through the manipulation of various tools, light, and chemicals.\u003Cbr \u002F>\nI treat photography as a plastic medium, similar to painting or sculpture, shaping color, texture, and form to create unique, one-of-a-kind works. These pieces invite viewers to experience photography in a new, immersive way, independent from external realities.\u003C\u002Fp>\n",{"images":9462,"size":56,"_type":57},[9463],{"_id":9464,"url":9465,"alt":18,"caption":18,"credit":18,"width":109,"height":8866},1558,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-22.jpg",{"questions":9467,"_type":45},[9468],{"question":9469,"answer":9470},"\u003Cp>Do you see your use of analog techniques as a kind of resistance to digital image culture, or more as a medium of intimacy and experimentation?\u003C\u002Fp>\n","\u003Cp>I agree with French philosopher Paul Virilio, who argued that technological acceleration makes it harder to live in the present. However, I’m not against technological development, and I use analog techniques not in their most traditional form but in a contemporary way, which naturally includes digital tools. For me, photography is a deeply personal practice and I see the darkroom as a sanctuary, a quiet, contemplative space where I escape the noise of the world and find clarity, focus, and peace. Since you’re deprived of your visual sense, you need organization, spatial memory, and then enter the perfect mindset to move from preparation to improvisation. There, I am forced to disconnect and to be present. I am currently developing “Meditations”, a series that has a direct connection to my artistic process.\u003C\u002Fp>\n",{"first":9472,"second":9474,"third":9475,"variant":94,"_type":206},{"_id":9363,"url":9473,"alt":18,"caption":18,"credit":18,"width":2431,"height":5208},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-17.jpg",{"_id":135,"url":9402,"alt":18,"caption":18,"credit":18,"width":2431,"height":5208},{"_id":9476,"url":9477,"alt":18,"caption":18,"credit":18,"width":295,"height":5695},1561,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-copy-1.jpg",{"questions":9479,"_type":45},[9480],{"question":9481,"answer":9482},"\u003Cp>Light is more than just a tool in your work, it almost behaves like a subject. When does light feel most alive or surprising to you in your process?\u003C\u002Fp>\n","\u003Cp>Light is the foundation of photography and I got passionate about it while discovering its infinite possibilities. It is a form of energy, made of massless particles, mysterious and intangible. Light is not always the subject but it is for sure the essential collaborator. Its unpredictability makes it challenging to control, which is exactly what keeps it playful and surprising. Another example comes from recent experiments, when I chose to work outside the darkroom, using the full moon as my main light source for a project on bigger formats than I usually work with.\u003C\u002Fp>\n",{"first":9484,"second":9487,"third":9491,"variant":94,"_type":206},{"_id":9485,"url":9486,"alt":18,"caption":18,"credit":18,"width":2431,"height":5208},1563,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-15.jpg",{"_id":9488,"url":9489,"alt":18,"caption":18,"credit":18,"width":5459,"height":9490},1564,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-11.jpg",764,{"_id":9492,"url":9493,"alt":18,"caption":18,"credit":18,"width":5459,"height":9490},1565,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-4.jpg",{"questions":9495,"_type":45},[9496],{"question":9497,"answer":9498},"\u003Cp>Your Elipse series references celestial events and obscuration. How do you think about the role of mystery or concealment in your work?\u003C\u002Fp>\n","\u003Cp>Eclipse was born from an experience I had during my time at the Biesenthal art residency in Germany. It was an intense month, and an eclipse felt like the perfect metaphor for that moment. I think mystery is present in everyone’s life, and I feel the need to move through it in my work as a way of processing my own feelings. Concealment allows space for imagination and emotional depth. It’s not about showing everything clearly, but about creating a tension between what is visible and what remains secret. This balance between revealing and hiding gives the work a poetic and almost meditative quality.\u003C\u002Fp>\n",{"first":9500,"second":9503,"third":9505,"variant":94,"_type":206},{"_id":9501,"url":9502,"alt":18,"caption":18,"credit":18,"width":3897,"height":4457},1566,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F16-3.jpg",{"_id":1199,"url":9504,"alt":18,"caption":18,"credit":18,"width":3897,"height":4457},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F17-1.jpg",{"_id":9506,"url":9507,"alt":18,"caption":18,"credit":18,"width":3897,"height":4457},1568,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F18.jpg",{"questions":9509,"_type":45},[9510],{"question":9511,"answer":9512},"\u003Cp>You’ve scanned ephemeral chemigrams to preserve their temporary beauty, how do you feel about preservation in your practice?\u003C\u002Fp>\n","\u003Cp>My choice to work with photography is also rooted in my appreciation for its tactile, deliberate process. They are objects, and I choose to produce them with great care. I pay attention to every material decision, from the choice of paper to the way the final print is handled and stored.\u003Cbr \u002F>\nWhen I started working on the Aurora project, I noticed each piece transforming like a moving image during development. These images were ephemeral and impossible to fix within the analog process, so I chose to preserve them by digitally capturing them, using a scanner as my camera. I like the idea that photography is a kind of “memory”. People use it to hold onto what time would otherwise erase, giving shape to the intangible and turning experience into an artifact. Doing this with an image that does not try to transcribe reality can feel disruptive, but to me it feels right.\u003C\u002Fp>\n",{"images":9514,"size":84,"_type":57},[9515],{"_id":9516,"url":9517,"alt":18,"caption":18,"credit":18,"width":5701,"height":2244},1569,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F19.jpg",{"questions":9519,"_type":45},[9520],{"question":9521,"answer":9522},"\u003Cp>Are there any texts, philosophies, artists, or specific thoughts that have shaped your way of seeing?\u003C\u002Fp>\n","\u003Cp>Inspiration finds me in many ways: in a passing conversation, a sentence that lingers from a book, or something completely random. Sometimes it comes softly, other times it hits like a spark. When I’m caught in a feeling, a decision, or even a fear, making work becomes my way of letting it flow out into the world.\u003Cbr \u002F>\nI connect with Helena Almeida’s way of merging painting, performance, and photography, and I’m inspired by artists like James Turrell, Olafur Eliasson, Anish Kapoor, and Wolfgang Tillmans for how they play with light, color, space, and perception. I’m also drawn to aspects of Eastern philosophies, like Taoism, that value balance, flow, and being present, ideas that naturally feed into my process.\u003C\u002Fp>\n",{"variant":1116,"images":9524,"_type":73},[9525,9528],{"_id":9526,"url":9527,"alt":18,"caption":18,"credit":18,"width":3938,"height":2244},1570,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F20.jpg",{"_id":9529,"url":9530,"alt":18,"caption":18,"credit":18,"width":3938,"height":2244},1571,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F21.jpg",{"questions":9532,"_type":45},[9533],{"question":638,"answer":9534},"\u003Cp>Feel free to reach out on Instagram @marianaromaoo or check out my website marianaromao.com,\u003Cbr \u002F>\nwhere you can explore my work and find info on upcoming exhibitions.\u003Cbr \u002F>\nIf you happen to be in Paris or Lisbon, I often split my time between these two cities, so there’s a good chance to catch me or my work locally.\u003C\u002Fp>\n",{"_type":6,"_id":4170,"slug":9536,"name":9537,"index":9538,"date":9539,"thumbnails":9540,"description":18,"footerImage":9546,"categories":9550,"sections":9552},"jim-kylam","Jim Kylam",74,"2025-08-18",{"quote":9541,"main":9542,"secondary":9545,"reverse":24},"\u003Cp>“if an “error” occurs while I’m working, it often becomes an opening to explore something unexpected…”\u003C\u002Fp>\n",{"image":9543,"background":21,"fit":22},{"_id":2459,"url":9544,"alt":18,"caption":18,"credit":18,"width":4934,"height":890},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-23.jpg",{"image":24,"background":21,"fit":22},{"_id":9547,"url":9548,"alt":18,"caption":18,"credit":18,"width":9549,"height":2244},1575,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-24.jpg",592,[9551],{"_id":127,"slug":146,"name":147},[9553,9558,9562,9568,9573,9577,9582,9587,9592,9597,9602,9607,9612,9617,9622,9627,9632],{"questions":9554,"_type":45},[9555],{"question":9556,"answer":9557},"\u003Cp>What is your name and where are you based?\u003C\u002Fp>\n","\u003Cp>My artist name is Jim Kylam. I’m originally from the countryside of southwestern France, and I’ve been living in Paris for over fifteen years.\u003C\u002Fp>\n",{"questions":9559,"_type":45},[9560],{"question":3060,"answer":9561},"\u003Cp>I try to develop a piece or an idea in advance, either in response to the medium or from a feeling I want to express. It’s a bit like a musician searching for the right melody. My process involves many trials, mistakes, and accidents that gradually lead me to the final work. Recently, I’ve been turning towards unique supports, often ones already marked by time.\u003C\u002Fp>\n",{"images":9563,"size":56,"_type":57},[9564],{"_id":5797,"url":9565,"alt":18,"caption":18,"credit":18,"width":9566,"height":9567},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-24.jpg",456,616,{"questions":9569,"_type":45},[9570],{"question":9571,"answer":9572},"\u003Cp>You describe your work as an “archaeology of symbols.” Where does your interest in mythological creatures and symbols come from?\u003C\u002Fp>\n","\u003Cp>When I return to my childhood bedroom, I find many books on Greek mythology. I enjoy stepping away from reality, immersing myself in allegories for their symbolic power and timeless nature.\u003C\u002Fp>\n",{"images":9574,"size":56,"_type":57},[9575],{"_id":5029,"url":9576,"alt":18,"caption":18,"credit":18,"width":9566,"height":9567},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-24.jpg",{"questions":9578,"_type":45},[9579],{"question":9580,"answer":9581},"\u003Cp>You say your process is “a mix of rituals and accidents.” Could you share an example of when an accident changed the direction of a work?\u003C\u002Fp>\n","\u003Cp>For a long time, I tried to achieve perfect technique and flawless execution, but my natural clumsiness prevented it. Now, I embrace mistakes and imperfections. For example, if an “error” occurs while I’m working, it often becomes an opening to explore something unexpected.\u003C\u002Fp>\n",{"images":9583,"size":84,"_type":57},[9584],{"_id":9585,"url":9586,"alt":18,"caption":18,"credit":18,"width":2473,"height":9567},1578,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-23.jpg",{"questions":9588,"_type":45},[9589],{"question":9590,"answer":9591},"\u003Cp>What is the strangest or most unexpected reference that has inspired your work?\u003C\u002Fp>\n","\u003Cp>Perhaps the musician Francis Bebey and his album Psychedelic Sanza. For me, it’s a raw and melancholic record, filled with total sincerity — exactly the feeling I try to evoke in my own work.\u003C\u002Fp>\n",{"images":9593,"size":56,"_type":57},[9594],{"_id":9595,"url":9596,"alt":18,"caption":18,"credit":18,"width":6332,"height":1263},1579,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-22.jpg",{"questions":9598,"_type":45},[9599],{"question":9600,"answer":9601},"\u003Cp>Your work seems to speak more to the unconscious than to logic. What helps you access that space?\u003C\u002Fp>\n","\u003Cp>It’s funny, because I still see a certain logic in my work. But I try to break that structure more and more by practicing automatic drawing, which lets the unconscious and the unexpected take over. I’m more drawn to a sincere work than to one that’s “perfectly made,” even though perfection can have its own comfort.\u003C\u002Fp>\n",{"images":9603,"size":56,"_type":57},[9604],{"_id":9605,"url":9606,"alt":18,"caption":18,"credit":18,"width":9566,"height":890},1580,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-24.jpg",{"questions":9608,"_type":45},[9609],{"question":9610,"answer":9611},"\u003Cp>What is the smallest detail in your work that holds the most meaning for you?\u003C\u002Fp>\n","\u003Cp>Probably the combination of drops and stars — my yin and yang — a deeply complementary duality.\u003C\u002Fp>\n",{"questions":9613,"_type":45},[9614],{"question":9615,"answer":9616},"\u003Cp>Do you collect anything outside of your artistic practice?\u003C\u002Fp>\n","\u003Cp>For several years, I’ve been collecting folk art, art brut, and many works by anonymous artists. I also regularly buy books on these subjects.\u003C\u002Fp>\n",{"images":9618,"size":56,"_type":57},[9619],{"_id":9620,"url":9621,"alt":18,"caption":18,"credit":18,"width":6332,"height":1263},1581,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-18.jpg",{"questions":9623,"_type":45},[9624],{"question":9625,"answer":9626},"\u003Cp>When someone encounters your work, what do you hope they take away from it?\u003C\u002Fp>\n","\u003Cp>It’s a difficult question, but I hope they set aside the technical aspect and dive into the symbolism and spirit of the piece — and keep that “second look” in mind.\u003C\u002Fp>\n",{"images":9628,"size":56,"_type":57},[9629],{"_id":9630,"url":9631,"alt":18,"caption":18,"credit":18,"width":2803,"height":625},1582,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-18.jpg",{"questions":9633,"_type":45},[9634],{"question":9635,"answer":9636},"\u003Cp>Where can people see your work?\u003C\u002Fp>\n","\u003Cp>I’m currently preparing a new exhibition in Paris. I regularly share my work on Instagram, but nothing replaces seeing it in person. Some pieces can also be found on my website.\u003C\u002Fp>\n",{"_type":6,"_id":9638,"slug":9639,"name":9640,"index":9641,"date":9642,"thumbnails":9643,"description":18,"footerImage":9650,"categories":9653,"sections":9655},1584,"ex-figura","EX FIGURA",75,"2025-08-20",{"quote":9644,"main":9645,"secondary":9649,"reverse":24},"\u003Cp>“each project should create something beyond its context – it should establish its own context”\u003C\u002Fp>\n",{"image":9646,"background":21,"fit":511},{"_id":9647,"url":9648,"alt":18,"caption":18,"credit":18,"width":503,"height":653},2733,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F75-head-3.jpg",{"image":24,"background":21,"fit":22},{"_id":9651,"url":9652,"alt":18,"caption":18,"credit":18,"width":2803,"height":625},1585,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-25.jpg",[9654],{"_id":33,"slug":34,"name":35},[9656,9660,9664,9669,9674,9680,9685,9690,9695,9700,9705,9710,9715,9721,9726,9730,9735,9740,9746],{"questions":9657,"_type":45},[9658],{"question":6340,"answer":9659},"\u003Cp>We are Barbara Stallone and Francisco Silva and we are currently based in Paris and Milan\u003C\u002Fp>\n",{"questions":9661,"_type":45},[9662],{"question":2426,"answer":9663},"\u003Cp>EX FIGURA is a creative collaborative studio. We blend different artforms to create spatial experiences. Each project is seen as an opportunity to use the combined knowledge of different collaborators and diverse references, so that the result is always unique.\u003C\u002Fp>\n",{"images":9665,"size":84,"_type":57},[9666],{"_id":9667,"url":9668,"alt":18,"caption":18,"credit":18,"width":1367,"height":5629},1588,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-25.jpg",{"questions":9670,"_type":45},[9671],{"question":9672,"answer":9673},"\u003Cp>How did EX FIGURA come to life, and what sparked the decision to merge so many disciplines into one practice?\u003C\u002Fp>\n","\u003Cp>After many years of doing conceptual work in major international offices, we wanted to take things into our own hands and guide the work as we saw fit. And having backgrounds in art, we also felt a constant need to create and \u002F or experiment with things outside of what is usually considered “architecture”. Out of the constraints of the more traditional offices, we were free to explore architecture in many different ways, to incorporate new ideas, new references and finally lead the project to unexpected results.\u003C\u002Fp>\n",{"images":9675,"size":56,"_type":57},[9676],{"_id":9677,"url":9678,"alt":18,"caption":18,"credit":18,"width":1689,"height":9679},1589,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-25.jpg",1624,{"questions":9681,"_type":45},[9682],{"question":9683,"answer":9684},"\u003Cp>You describe each project as a way to explore “every artform.” What does that process of exploration look like in your studio?\u003C\u002Fp>\n","\u003Cp>There is a lot of “subconscious research” and intuition leading our process. We follow every new thing being done in the world, which is a way of constantly learning. This makes us inadvertently bring new disciplines into the project, such as music sampling, sports fashion, poster graphic design, etc. And by allowing ourselves to be influenced by all these elements that come into our lives, each project becomes a momentary product of all that information.\u003C\u002Fp>\n",{"images":9686,"size":56,"_type":57},[9687],{"_id":9688,"url":9689,"alt":18,"caption":18,"credit":18,"width":8838,"height":5519},1590,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-23.jpg",{"questions":9691,"_type":45},[9692],{"question":9693,"answer":9694},"\u003Cp>If we opened one of your project folders, what would we find ?\u003C\u002Fp>\n","\u003Cp>We are always browsing through different media, for the pleasure of seeing new things. We use social media, like instagram, pinterest or tumblr as a way to store and make small collections. We avoid any predetermined systems of classification, to avoid formatting information or closing creative possibilities in the research phase. The way the content is articulated is more subconscious: it’s possible to find certain patterns between unrelated things and only become aware when it comes out on paper. We allow these random fragments of influence to wander around our minds and express themselves through dreams, visions, sketches, 3d models, etc…\u003C\u002Fp>\n",{"images":9696,"size":56,"_type":57},[9697],{"_id":9698,"url":9699,"alt":18,"caption":18,"credit":18,"width":8838,"height":5519},1591,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-25.jpg",{"questions":9701,"_type":45},[9702],{"question":9703,"answer":9704},"\u003Cp>With both founders coming from powerful architectural lineages, Sou Fujimoto, Jean Nouvel, BIG, how have those influences been absorbed, transformed, or resisted in your own work?\u003C\u002Fp>\n","\u003Cp>There are different types of influences. Those offices taught us a lot about processes and the way the profession works under different circumstances. Even the people we have met there were incredibly important to shape the professionals we are today. When it comes to stylistic influence, we would also have to name all the architects, artists and designers, both living and dead, that still play a huge part in what we create\u003C\u002Fp>\n",{"images":9706,"size":56,"_type":57},[9707],{"_id":9708,"url":9709,"alt":18,"caption":18,"credit":18,"width":8838,"height":4359},1592,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-25.jpg",{"questions":9711,"_type":45},[9712],{"question":9713,"answer":9714},"\u003Cp>Do you see scenography as architecture in motion?\u003C\u002Fp>\n","\u003Cp>We see architecture as anything that can act as a context for an action. Beyond a building, a masterplan, an interior, a fashion set, a museum scenography, a night event, etc, even a highly engaging music or a compelling book or movie can transport one’s mind to another place. And when you broaden your understanding of architecture, then it becomes all about how every element engages with the public.\u003C\u002Fp>\n",{"images":9716,"size":56,"_type":57},[9717],{"_id":9718,"url":9719,"alt":18,"caption":18,"credit":18,"width":9720,"height":4359},1593,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-24.jpg",714,{"questions":9722,"_type":45},[9723],{"question":9724,"answer":9725},"\u003Cp>“Everything inspires everything.” Could you speak to a time when a reference shifted your approach to another?\u003C\u002Fp>\n","\u003Cp>One of the latest projects we did, in Porto, we had to reinvent the facade of an historic building in the city center. We wanted something dynamic that could appear different each moment of the day. We started with the Porto sky because, being on the oceanfront, the weather can quickly change in a matter of hours and, that “instability”, is a part of the city and its people. In parallel we were also looking at the motion of waves and fashion patterns that, through repetition, could induce movement. At a certain moments we were flipping videos of waves advancing in the water, together with fabric patterns that could function in a similar way – to create a piece of temporary architecture that could resonate with the people.\u003C\u002Fp>\n",{"images":9727,"size":56,"_type":57},[9728],{"_id":5349,"url":9729,"alt":18,"caption":18,"credit":18,"width":1963,"height":5052},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-23.jpg",{"questions":9731,"_type":45},[9732],{"question":9733,"answer":9734},"\u003Cp>You’ve worked internationally, from Versailles to Seoul to Qatar to Porto. How does geography influence your conceptual process?\u003C\u002Fp>\n","\u003Cp>The place is fundamental for the materials and processes it has, as it will allow the creation of something tangible and that, potentially, can be either reused or returned. Other than that, we believe that each project should create something beyond its context – it should establish its own context.\u003C\u002Fp>\n",{"questions":9736,"_type":45},[9737],{"question":9738,"answer":9739},"\u003Cp>What has been your most experimental project to date, and what did you learn from it?\u003C\u002Fp>\n","\u003Cp>Versailles was one of the most extreme ones. It was a scenography for a short event so we knew we could create a more radical effect, considering it wasn’t going to remain visible for more than a few hours. And taking the fountains of the gardens of Versailles as reference, we sought to create an architectural object with the same volatility as the water jets. Early on, we studied how to create the entire set using only a very light material and air. Everything was meant to fly and move with the wind. The amount of experimentation, both in design and prototyping, was the first example of what it takes to do such projects. And if presenting the final product was as anxiety inducing as a theater spectacle, in the end the public’s reaction was equally as rewarding\u003C\u002Fp>\n",{"images":9741,"size":56,"_type":57},[9742],{"_id":9743,"url":9744,"alt":18,"caption":18,"credit":18,"width":9745,"height":5052},1595,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-19.jpg",626,{"questions":9747,"_type":45},[9748],{"question":638,"answer":9749},"\u003Cp>On instagram (@ex.figura) we present a sort of visual diary – a sequence of squared images that blend our projects with some of the used references, to present a continuous line between apparently random creations. And although we work everywhere in the world, we are mostly concentrated in projects around Milan and Paris\u003C\u002Fp>\n",{"_type":6,"_id":9751,"slug":9752,"name":9753,"index":9754,"date":9755,"thumbnails":9756,"description":18,"footerImage":9765,"categories":9768,"sections":9770},1597,"alan-hamliko","Alan Hamliko",76,"2025-08-22",{"quote":9757,"main":9758,"secondary":9764,"reverse":24},"\u003Cp>“my editorial work and my objects are two parts of the same process.”\u003C\u002Fp>\n",{"image":9759,"background":21,"fit":22},{"_id":9760,"url":9761,"alt":18,"caption":18,"credit":18,"width":9762,"height":9763},1603,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-26.jpg",756,945,{"image":24,"background":21,"fit":22},{"_id":9766,"url":9767,"alt":18,"caption":18,"credit":18,"width":9745,"height":5052},1598,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-26.jpg",[9769],{"_id":33,"slug":34,"name":35},[9771,9775,9779,9784,9789,9796,9801,9805,9810,9818,9823,9828,9833,9842,9847,9851,9856,9864],{"questions":9772,"_type":45},[9773],{"question":1766,"answer":9774},"\u003Cp>My name is Alan Hamliko. I was born in Syria, grew up in Germany, and now live and work in Berlin.\u003C\u002Fp>\n",{"questions":9776,"_type":45},[9777],{"question":3060,"answer":9778},"\u003Cp>I am an object and jewelry designer, mainly focusing on haptics and structure in my craft. My objects move between an abstract decorative and an organic functional direction. With my jewelry, I hope the wearer develops an appreciation through both the visual and tactile experience, where the handmade quality and textures are central.\u003C\u002Fp>\n",{"images":9780,"size":84,"_type":57},[9781],{"_id":503,"url":9782,"alt":18,"caption":18,"credit":18,"width":3831,"height":9783},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-26.jpg",630,{"questions":9785,"_type":45},[9786],{"question":9787,"answer":9788},"\u003Cp>What led you into the world of object and jewelry design?\u003C\u002Fp>\n","\u003Cp>My love for art and fashion started when I was very young. I have always enjoyed making things with my hands, crafting, sewing, and creating. I attended an art focused boarding school where I had the chance to experiment a lot with different art forms. Later, during my design studies, I worked extensively with digital media but found myself missing the tactile, hands on aspect of creation. This inspired me to reconnect with craftsmanship, creating objects\u003Cbr \u002F>\nthat merge my passion for fashion, objects and manual work.\u003C\u002Fp>\n",{"variant":1116,"images":9790,"_type":73},[9791,9794],{"_id":7121,"url":9792,"alt":18,"caption":18,"credit":18,"width":9762,"height":9793},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-24.jpg",1093,{"_id":4215,"url":9795,"alt":18,"caption":18,"credit":18,"width":9762,"height":9793},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-26.jpg",{"questions":9797,"_type":45},[9798],{"question":9799,"answer":9800},"\u003Cp>Having grown up in a multicultural environment, how do you find that these perspectives come into your aesthetic language?\u003C\u002Fp>\n","\u003Cp>I’m not strongly influenced by culture in my work. My focus is more on the objects I create from different perspectives. What my background does bring is the ability to see design and aesthetics through multiple viewpoints, which enriches my approach.\u003C\u002Fp>\n",{"images":9802,"size":84,"_type":57},[9803],{"_id":2729,"url":9804,"alt":18,"caption":18,"credit":18,"width":9745,"height":2050},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-25.jpg",{"questions":9806,"_type":45},[9807],{"question":9808,"answer":9809},"\u003Cp>Where do the organic and abstract shapes in your work come from?\u003C\u002Fp>\n","\u003Cp>I often make sketches, but not always. My inspiration mainly comes from my original designs, and through the process of developing my work further, new ideas emerge. When I create something, I usually try to transform it into different forms, sometimes adding elements or simplifying it. This ongoing development is the main source of inspiration for my work. Occasionally, I also draw inspiration from everyday moments or shapes I find interesting, but overall, my designs grow out of the evolution of my own ideas.\u003C\u002Fp>\n",{"variant":1179,"images":9811,"_type":73},[9812,9815],{"_id":9813,"url":9814,"alt":18,"caption":18,"credit":18,"width":9762,"height":9763},1604,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-25.jpg",{"_id":9816,"url":9817,"alt":18,"caption":18,"credit":18,"width":9762,"height":9763},1605,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-24.jpg",{"questions":9819,"_type":45},[9820],{"question":9821,"answer":9822},"\u003Cp>Your editorial work feels as artistic as the pieces you make, do you think of them as separate, or do they come from the same place?\u003C\u002Fp>\n","\u003Cp>I see my editorial work and my objects as two parts of the same process. How I design my work is only half of it; the other half is about presenting it visually to reach the people who will appreciate it. I really enjoy presenting my work beautifully and thoughtfully. For me, almost everything should have a concept, and that concept includes not only creating the pieces but also presenting them in a conceptual and editorial way.\u003C\u002Fp>\n",{"variant":1116,"images":9824,"_type":73},[9825],{"_id":9826,"url":9827,"alt":18,"caption":18,"credit":18,"width":9762,"height":331},1606,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-20.jpg",{"questions":9829,"_type":45},[9830],{"question":9831,"answer":9832},"\u003Cp>What kinds of objects do you find yourself most drawn to making?\u003C\u002Fp>\n","\u003Cp>I really enjoy experimenting and always want to keep creating new things, so I don’t want to get stuck in one place. If I had to be more specific, I enjoy making rings when it comes to jewelry, and with objects, I like creating small items related to tapas or little details like olive picks, small knives, or tiny spoons.\u003C\u002Fp>\n",{"variant":1116,"images":9834,"_type":73},[9835,9839],{"_id":9836,"url":9837,"alt":18,"caption":18,"credit":18,"width":9762,"height":9838},1607,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-19.jpg",562,{"_id":9840,"url":9841,"alt":18,"caption":18,"credit":18,"width":9762,"height":9838},1608,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-16.jpg",{"questions":9843,"_type":45},[9844],{"question":9845,"answer":9846},"\u003Cp>Is there a detail in one of your works that most people might overlook but means a lot to you?\u003C\u002Fp>\n","\u003Cp>I am very drawn to the small details like tiny dents, fine ridges, fingerprints, little bubbles, and the small holes in a ring that are sometimes overlooked. These elements are important to me because of their contribution to texture and haptics. For me, texture is a key detail in my work.\u003C\u002Fp>\n",{"images":9848,"size":56,"_type":57},[9849],{"_id":1635,"url":9850,"alt":18,"caption":18,"credit":18,"width":2606,"height":4429},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-12.jpg",{"questions":9852,"_type":45},[9853],{"question":9854,"answer":9855},"\u003Cp>What brings you the most peace when you step away from creating?\u003C\u002Fp>\n","\u003Cp>When I need peace, I like to listen to very calm, almost monotone music. It helps me relax deeply. But when I want to recharge my energy in a different way, I enjoy cooking for my friends and sharing a meal with them. That gives me a lot of joy.\u003C\u002Fp>\n",{"variant":1116,"images":9857,"_type":73},[9858,9861],{"_id":9859,"url":9860,"alt":18,"caption":18,"credit":18,"width":2606,"height":4429},1610,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-9.jpg",{"_id":9862,"url":9863,"alt":18,"caption":18,"credit":18,"width":2606,"height":4429},1611,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-5.jpg",{"questions":9865,"_type":45},[9866],{"question":638,"answer":9867},"\u003Cp>People can mainly find me on social media at the moment. In the next few months, I will launch my website and my work will also be available in several concept stores. For those living in Berlin, I always welcome visits to me where they can see my objects and pieces in person.\u003C\u002Fp>\n",{"_type":6,"_id":6071,"slug":9869,"name":9870,"index":9871,"date":9872,"thumbnails":9873,"description":18,"footerImage":9880,"categories":9882,"sections":9884},"warm-metal","Warm Metal",77,"2025-08-24",{"quote":9874,"main":9875,"secondary":9879,"reverse":24},"\u003Cp>“So it made me start thinking how we often don’t use the full potential and playfulness of clothes…”\u003C\u002Fp>\n",{"image":9876,"background":21,"fit":139},{"_id":9877,"url":9878,"alt":18,"caption":18,"credit":18,"width":329,"height":4635},1615,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-26.jpg",{"image":24,"background":21,"fit":22},{"_id":7980,"url":9881,"alt":18,"caption":18,"credit":18,"width":2606,"height":5220},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-27.jpg",[9883],{"_id":240,"slug":2416,"name":2417},[9885,9889,9893,9900,9905,9910,9915,9920,9925,9932,9937,9942,9947,9952,9957,9961,9966,9973],{"questions":9886,"_type":45},[9887],{"question":1766,"answer":9888},"\u003Cp>My name is Tea, but more importantly, my brand’s name is Warm Metal – a London born and based clothing brand.\u003C\u002Fp>\n",{"questions":9890,"_type":45},[9891],{"question":3060,"answer":9892},"\u003Cp>I like to play with materials and objects. With Warm Metal that play means designing transformable clothing, that encourages the wearers to continue the play, re-imagine the pieces and ultimately have fun.\u003C\u002Fp>\n",{"variant":1116,"images":9894,"_type":73},[9895,9897],{"_id":6434,"url":9896,"alt":18,"caption":18,"credit":18,"width":526,"height":4890},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-17.jpg",{"_id":9898,"url":9899,"alt":18,"caption":18,"credit":18,"width":526,"height":4890},1626,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-13.jpg",{"questions":9901,"_type":45},[9902],{"question":9903,"answer":9904},"\u003Cp>What first inspired you to launch Warm Metal and what does the name mean to you?\u003C\u002Fp>\n","\u003Cp>I always wanted to have a clothing brand and after one attempt at doing so, I decided it’s time to re-brand and start fresh. The name means very little to me: I had long COVID and had smell damage for a year after. When doing an MRI I was given a CD with copies of my brain scans. The program on the CD allowed to add different filters to the scans (kind of like Photoshop) and one of the filters was called Warm Metal.\u003C\u002Fp>\n",{"images":9906,"size":56,"_type":57},[9907],{"_id":6974,"url":9908,"alt":18,"caption":18,"credit":18,"width":9909,"height":92},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-27.jpg",758,{"questions":9911,"_type":45},[9912],{"question":9913,"answer":9914},"\u003Cp>You describe Warm Metal as creating clothes that are more like gadgets, multi-use, and adaptable. How did this shape your approach to fashion design?\u003C\u002Fp>\n","\u003Cp>I’d say my approach to fashion design is what shaped the idea behind Warm Metal’s transformable clothing. When you get into designing clothes, or even styling, you start to understand them as ‘malleable’ objects in a way, their ‘intended’ purpose or size changes. You start to explore beyond it. So a skirt can now be a top, or a T-shirt 3 sizes bigger, can be a dress etc. So it made me start thinking how we often don’t use the full potential and playfulness of clothes, we tend to follow these predetermined rules of what is our ‘correct’ size or the ‘correct’ way of wearing a garment. With this big looming issue of fashion waste, it seems silly not to start using the full potential of a single garment, how it can be transformed and re-styled to avoid unnecessary consumption.\u003C\u002Fp>\n",{"images":9916,"size":56,"_type":57},[9917],{"_id":9918,"url":9919,"alt":18,"caption":18,"credit":18,"width":1219,"height":92},1618,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-25.jpg",{"questions":9921,"_type":45},[9922],{"question":9923,"answer":9924},"\u003Cp>By designing for longevity and adaptability, you’re asking people to shift how they think about fashion itself. What conversations do you hope this sparks around consumption?\u003C\u002Fp>\n","\u003Cp>Absolutely! I hope we move away from this all-encompassing trend of quantity over quality. This is not just in fashion or in the way we consume physical ‘stuff’ it’s on our social media, streaming platforms etc. But, with fashion I do hope the narrative shifts towards understanding how clothing is made, how to treat it with more care and allow it to live in our wardrobes (and not landfills) for longer.\u003C\u002Fp>\n",{"variant":1116,"images":9926,"_type":73},[9927,9930],{"_id":9928,"url":9929,"alt":18,"caption":18,"credit":18,"width":1518,"height":509},1619,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-27.jpg",{"_id":5069,"url":9931,"alt":18,"caption":18,"credit":18,"width":1518,"height":509},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-27.jpg",{"questions":9933,"_type":45},[9934],{"question":9935,"answer":9936},"\u003Cp>When you’re developing a piece that can be worn many ways, what does the design process look like? Where do you start?\u003C\u002Fp>\n","\u003Cp>I start by simplifying the shape to a point where I cannot go any further. For example: what’s the bare-minimum a trouser needs to have before it stops being a trouser? Probably a crotch and two holes for the legs. So everything else, like curved seams, darts etc can go. And the next step is giving it enough space for playing. The final step is  to give this blank canvas some tools i.e. straps, channels and strings, so the wearer can play with it.\u003C\u002Fp>\n",{"images":9938,"size":84,"_type":57},[9939],{"_id":9940,"url":9941,"alt":18,"caption":18,"credit":18,"width":1518,"height":4890},1621,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-26.jpg",{"questions":9943,"_type":45},[9944],{"question":9945,"answer":9946},"\u003Cp>The Apr10n started as a simple rectangular apron, how did you realize this could expand into an entire system of clothing?\u003C\u002Fp>\n","\u003Cp>That’s a good question! I guess I just wondered if this principle can be applied to other types of clothing like a basic trouser, a basic skirt, a basic dress etc.\u003C\u002Fp>\n",{"images":9948,"size":56,"_type":57},[9949],{"_id":9950,"url":9951,"alt":18,"caption":18,"credit":18,"width":329,"height":2766},1616,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-26.jpg",{"questions":9953,"_type":45},[9954],{"question":9955,"answer":9956},"\u003Cp>How did you come up with the FLOWER Scarf?\u003C\u002Fp>\n","\u003Cp>The FLOWER Scarf is part of the AW25\u002F26 collection which is all about florals for winter, so I wanted to see how far I can embed the flower motif into each piece of the collection. Being a winter collection, it needed a scarf of sorts, so the idea came that it would actually be a string of individual padded flowers that can be arranged in different ways, like building blocks. Of course this wasn’t enough so I thought: usually you’d wear a hat and gloves with your scarf, so can three of the flowers in the string also be a hat and a pair of mittens?\u003C\u002Fp>\n",{"images":9958,"size":56,"_type":57},[9959],{"_id":30,"url":9960,"alt":18,"caption":18,"credit":18,"width":1518,"height":4890},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-25.jpg",{"questions":9962,"_type":45},[9963],{"question":9964,"answer":9965},"\u003Cp>Do you envision your transformable designs moving beyond fashion into other fields, like furniture, wearables, or lifestyle objects?\u003C\u002Fp>\n","\u003Cp>Perhaps? I think there is still lots to explore within clothing, and this is where my main knowledge lies, but I am open to expanding.\u003C\u002Fp>\n",{"variant":1116,"images":9967,"_type":73},[9968,9971],{"_id":9969,"url":9970,"alt":18,"caption":18,"credit":18,"width":526,"height":4890},1623,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-21.jpg",{"_id":9679,"url":9972,"alt":18,"caption":18,"credit":18,"width":526,"height":4890},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-20.jpg",{"questions":9974,"_type":45},[9975],{"question":638,"answer":9976},"\u003Cp>If you want to follow the process, WM is on socials under @warm.metal. If you want to shop WM, UK customers can do so on the website www.warm-metal.com, for Canada you can find WM online on www.lignesdefuite.organd starting in September 2025  the AW25\u002F26 will be in a few stores across Japan (check our stockist list on our website for more info).\u003C\u002Fp>\n",{"_type":6,"_id":3274,"slug":9978,"name":9979,"index":9980,"date":9981,"thumbnails":9982,"description":18,"footerImage":9990,"categories":9993,"sections":9995},"fernanda-liberti","Fernanda Liberti",78,"2025-08-25",{"quote":9983,"main":9984,"secondary":9989,"reverse":24},"\u003Cp>“objects have soul and meaning, and nothing is truly lost in this world..”\u003C\u002Fp>\n",{"image":9985,"background":21,"fit":22},{"_id":9986,"url":9987,"alt":18,"caption":18,"credit":18,"width":9988,"height":5793},1630,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-27.jpg",425,{"image":24,"background":21,"fit":22},{"_id":9991,"url":9992,"alt":18,"caption":18,"credit":18,"width":526,"height":5793},1631,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-28.jpg",[9994],{"_id":1739,"slug":7913,"name":7914},[9996,10000,10004,10010,10015,10019,10024,10033,10038,10042,10047,10052,10057,10065,10070,10075,10080,10089,10094,10107,10112,10117,10122,10129],{"questions":9997,"_type":45},[9998],{"question":1766,"answer":9999},"\u003Cp>My name is Fernanda Liberti. I am carioca (someone who was born in the city of Rio de Janeiro) and I’m currently based between London, Athens and Rio.\u003C\u002Fp>\n",{"questions":10001,"_type":45},[10002],{"question":3060,"answer":10003},"\u003Cp>My practice is a kaleidoscope of my own curiosities and experiences—a love letter to those who comes in front of my lens—and a record of the lives of women, diasporas, and queer people of my generation.\u003C\u002Fp>\n",{"images":10005,"size":84,"_type":57},[10006],{"_id":4424,"url":10007,"alt":18,"caption":18,"credit":18,"width":10008,"height":10009},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-27.jpg",809,544,{"questions":10011,"_type":45},[10012],{"question":10013,"answer":10014},"\u003Cp>Growing up, what early experiences inspired you as an artist?\u003C\u002Fp>\n","\u003Cp>I was fortunate to have my great-grandmother in my life until I was 15 – she was my biggest\u003Cbr \u002F>\ninspiration, the first artist I ever met and the reason I became who I am today. A fashion designer and seamstress, she used clothes to transform not only her own life, but our entire family’s. From an early age, she showed me how creativity could empower woman and create change.\u003C\u002Fp>\n",{"images":10016,"size":56,"_type":57},[10017],{"_id":2413,"url":10018,"alt":18,"caption":18,"credit":18,"width":2244,"height":10009},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-28.jpg",{"questions":10020,"_type":45},[10021],{"question":10022,"answer":10023},"\u003Cp>Your MA project, Dancing with the Tupinambá, captured the revival of a sacred feathered cape crafted by Glicéria Tupinambá. How did this transform your understanding of cultural memory and storytelling?\u003C\u002Fp>\n","\u003Cp>My experience with Dancing with the Tupinambá cemented my understanding that culture is always alive, it cant be killed or destroyed. It doesn’t matter how many years have passed by, objects have soul and meaning, and nothing is truly lost in this world – it transmutes, it hides, sometimes it might become only a whisper in the wind, but if you tune your ears enough, they will speak to you.\u003C\u002Fp>\n",{"variant":176,"images":10025,"_type":73},[10026,10030],{"_id":10027,"url":10028,"alt":18,"caption":18,"credit":18,"width":10029,"height":10009},1634,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-26.jpg",614,{"_id":10031,"url":10032,"alt":18,"caption":18,"credit":18,"width":2527,"height":10009},1635,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-28.jpg",{"questions":10034,"_type":45},[10035],{"question":10036,"answer":10037},"\u003Cp>Dust From Home traces your Syrian and Italian heritage, weaving together archival pieces, personal encounters, and histories. What made you feel like the time was right to take this journey now?\u003C\u002Fp>\n","\u003Cp>Working with Glicéria deeply moved me, and her mission to reclaim what was lost in her community led me to reflect on the erasures within my own family and heritage. That reflection gave birth to Dust from Home, rooted in the desire to reconnect with forgotten parts of my story and heritage. Timing was essential, as visiting Syria had been a long-held dream, but the war made it impossible for over a decade. When conditions finally became more stable, I was able to go, but the journey and logistics was far from simple, specially because I visited in the last months before the fall of the Assad regime. It required spiritual consultations through Ifá divination, astrology, tarot, offerings, and, ultimately, a great amount of divine protection.\u003C\u002Fp>\n",{"images":10039,"size":84,"_type":57},[10040],{"_id":4821,"url":10041,"alt":18,"caption":18,"credit":18,"width":1139,"height":717},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-27.jpg",{"questions":10043,"_type":45},[10044],{"question":10045,"answer":10046},"\u003Cp>Was there an unexpected moment from your experience in Syria that has stayed with you ever since?\u003C\u002Fp>\n","\u003Cp>The whole trip to Syria is and forever will be engraved in the most precious parts of my heart and soul – I will never be the same, in the best way possible. But what stayed with me most, and what I never expected, was finding family there. My relatives in Brazil were certain no one was left, partly due to lack of information, partly to protect me and my expectations. I had always dreamt of having a big family and now, that dream is real.\u003C\u002Fp>\n",{"images":10048,"size":84,"_type":57},[10049],{"_id":10050,"url":10051,"alt":18,"caption":18,"credit":18,"width":1139,"height":717},1637,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-26.jpg",{"questions":10053,"_type":45},[10054],{"question":10055,"answer":10056},"\u003Cp>What started as a personal search became a broader exploration of Syrian cultural heritage, what do you hope people carry with them after seeing it?\u003C\u002Fp>\n","\u003Cp>Due to the dehumanisation of Arabs — especially after 9\u002F11 — Syrians were left to die by the West, forgotten from existence except in violent headlines or when they appeared at foreign shores seeking safety, often unwelcome. What I found there were some of the kindest, most generous, inspiring, educated, and resilient people I’ve ever met. As a woman, I never felt safer or more respected, always surrounded by protective and caring souls, even when we couldn’t share a language. I hope people carry with them the understanding that refugees are just like them: human beings who’ve lived through unspeakable adversities. There’s still a huge stigma around them, and I hope others realise: this too could happen to any of us.\u003C\u002Fp>\n",{"variant":1116,"images":10058,"_type":73},[10059,10062],{"_id":10060,"url":10061,"alt":18,"caption":18,"credit":18,"width":1503,"height":3831},1638,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-22.jpg",{"_id":10063,"url":10064,"alt":18,"caption":18,"credit":18,"width":1503,"height":3831},1639,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-21.jpg",{"questions":10066,"_type":45},[10067],{"question":10068,"answer":10069},"\u003Cp>Between the collaboration with Glicéria and the archival journey for Dust From Home, how has photography become a tool for reclamation for you?\u003C\u002Fp>\n","\u003Cp>Historically, photography has been a tool of colonial violence — a means of imposing narratives and expanding the concept of “otherness.” It has often served to exoticize, objectify, categorize, and control, rather than to foster understanding or connection. I strive to counter this legacy by making my photography a space of belonging, care, power, and authentic expression. Photography has opened many doors for me – not only allowing me to travel the world but also empowering me to reclaim my story and challenge the narratives imposed on others.\u003C\u002Fp>\n",{"images":10071,"size":84,"_type":57},[10072],{"_id":10073,"url":10074,"alt":18,"caption":18,"credit":18,"width":1503,"height":1648},1640,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-18.jpg",{"questions":10076,"_type":45},[10077],{"question":10078,"answer":10079},"\u003Cp>Your practice earned significant and deserved recognition, being selected as a Dior Laureate, winning the British Journal of Photography Award, and the Deloitte Photo Grant. How have these platforms shaped or influenced your work?\u003C\u002Fp>\n","\u003Cp>I am extremely grateful for all the recognition I got, and there’s a quote I live by: “When success knocked on my door, I was already working.” Before Deloitte, I received recognition for work that was entirely self-funded. Winning their Photo Grant was a turning point: it allowed me to upgrade my equipment, travel to Syria, and provided guidance to bring my ideas to life, supported by an incredible team. It was the first time I started a project with a guaranteed exhibition in the end, which is incredible but also adds an extra layer of pressure. That said, I started taking photos when I was 14, and it used to take me four hours by bus just to attend my first photography course. That experience shaped me far more deeply than any platform ever could.\u003C\u002Fp>\n",{"variant":1116,"images":10081,"_type":73},[10082,10086],{"_id":10083,"url":10084,"alt":18,"caption":18,"credit":18,"width":10085,"height":1648},1641,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-14.jpg",549,{"_id":10087,"url":10088,"alt":18,"caption":18,"credit":18,"width":10085,"height":1648},1642,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-10.jpg",{"questions":10090,"_type":45},[10091],{"question":10092,"answer":10093},"\u003Cp>Do you approach the storytelling in commissioned work differently, or is it guided by the same personal and reflective qualities as your own projects?\u003C\u002Fp>\n","\u003Cp>My work has always been focused on uplifting minorities and portraying them in positions of power, pleasure, and success. I’m fortunate to collaborate with clients who understand my vision and values — they don’t ask me to compromise them, but rather hire me because of them.\u003C\u002Fp>\n",{"first":10095,"second":10100,"third":10103,"variant":94,"_type":206},{"_id":10096,"url":10097,"alt":18,"caption":18,"credit":18,"width":10098,"height":10099},1645,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F17-2.jpg",349,529,{"_id":10101,"url":10102,"alt":18,"caption":18,"credit":18,"width":10098,"height":10099},1644,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F16-4.jpg",{"_id":10104,"url":10105,"alt":18,"caption":18,"credit":18,"width":10085,"height":10106},1646,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-7.jpg",377,{"questions":10108,"_type":45},[10109],{"question":10110,"answer":10111},"\u003Cp>As an associate lecturer at UAL, what do you hope to impart to your students?\u003C\u002Fp>\n","\u003Cp>I hope to inspire my students to pursue their deepest curiosities and face their darkest fears, to be open to the unknown and to really dive into their soul in order to create works that are relevant to them and others. I don’t want them to always provide answers, but to ask questions. I want them to have powerful voices and to be vessels of change.\u003C\u002Fp>\n",{"images":10113,"size":84,"_type":57},[10114],{"_id":10115,"url":10116,"alt":18,"caption":18,"credit":18,"width":8718,"height":332},1647,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F18-1.jpg",{"questions":10118,"_type":45},[10119],{"question":10120,"answer":10121},"\u003Cp>Are there themes you haven’t explored yet that you’d like to look into next?\u003C\u002Fp>\n","\u003Cp>Religion and spirituality are very important in my life, and more than ever I want to bring those themes into my work. I wish to expand my practise beyond the photographic and thats the moment I am now – experimenting with painting, installation, sculpture, embroidery and more.\u003C\u002Fp>\n",{"variant":1116,"images":10123,"_type":73},[10124,10127],{"_id":10125,"url":10126,"alt":18,"caption":18,"credit":18,"width":8718,"height":886},1648,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F19-1.jpg",{"_id":3577,"url":10128,"alt":18,"caption":18,"credit":18,"width":8718,"height":886},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F20-1.jpg",{"questions":10130,"_type":45},[10131],{"question":638,"answer":10132},"\u003Cp>I can be found in the intersection of consciousness, but also on my website wwww.fernandaliberti.com, instagram @libertife. I have many exciting projects coming so follow to be updated.\u003C\u002Fp>\n",{"_type":6,"_id":10134,"slug":10135,"name":10136,"index":10137,"date":10138,"thumbnails":10139,"description":18,"footerImage":10147,"categories":10150,"sections":10152},1651,"rania-abdalla-kadafour","Rania Abdalla Kadafour",79,"2025-08-28",{"quote":10140,"main":10141,"secondary":10146,"reverse":24},"\u003Cp>“I let my eyes and my mind move my pen to whichever beat is playing in my mind…”\u003C\u002Fp>\n",{"image":10142,"background":21,"fit":22},{"_id":10143,"url":10144,"alt":18,"caption":18,"credit":18,"width":4548,"height":10145},1652,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-29.jpg",450,{"image":24,"background":21,"fit":22},{"_id":10148,"url":10149,"alt":18,"caption":18,"credit":18,"width":4548,"height":1751},1653,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-28.jpg",[10151],{"_id":127,"slug":146,"name":147},[10153,10157,10161,10169,10174,10179,10184,10189,10194,10199,10204,10212,10217,10220,10225,10230,10235,10240],{"questions":10154,"_type":45},[10155],{"question":1766,"answer":10156},"\u003Cp>My name is Rania Abdalla Kadafour and I’m a Sudanese artist born in the US, raised in Qatar, and currently based in Boston.\u003C\u002Fp>\n",{"questions":10158,"_type":45},[10159],{"question":3060,"answer":10160},"\u003Cp>My current work exists at the intersection of quilting, low relief sculpture, and image-making rooted in a background in painting.\u003C\u002Fp>\n",{"variant":1179,"images":10162,"_type":73},[10163,10166],{"_id":1896,"url":10164,"alt":18,"caption":18,"credit":18,"width":10165,"height":5647},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-28.jpg",438,{"_id":10167,"url":10168,"alt":18,"caption":18,"credit":18,"width":52,"height":1830},1655,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-29.jpg",{"questions":10170,"_type":45},[10171],{"question":10172,"answer":10173},"\u003Cp>You started with painting, what first drew you to working with textiles and stitching?\u003C\u002Fp>\n","\u003Cp>I started painting seriously around the age of 13, but I had been surrounded by textiles since I could remember. One of my first memories is my mother’s friend showing me how to sew a heart using a sewing machine. Textiles & needlework were also things that allowed me to bond with my late grandmother, who was an accomplished artist, beyond our language barrier. Fiber arts were a beautiful part of my upbringing as a little girl, and I didn’t realize I could combine them with my painting practice until my second year of university when I discovered we had a fibers concentration I could study under.\u003C\u002Fp>\n",{"images":10175,"size":56,"_type":57},[10176],{"_id":10177,"url":10178,"alt":18,"caption":18,"credit":18,"width":52,"height":1830},1656,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-27.jpg",{"questions":10180,"_type":45},[10181],{"question":10182,"answer":10183},"\u003Cp>You’ve described your work as rooted in tenderness; how do you approach emotion as a material in itself?\u003C\u002Fp>\n","\u003Cp>I actually mostly approach emotion in an illustrative or painterly way, depicting it with line & color. I would say the material part of understanding emotion is in the process. It’s in every stitch, every snip, every minute I spend dyeing cloth. I need to process emotion through my hands, engaging them in a delicate labor. The mental stimulation & problem solving that I experience while investigating the material bounds of quilting provide a kind of mental escape for me that is deeply soothing.\u003C\u002Fp>\n",{"images":10185,"size":56,"_type":57},[10186],{"_id":10187,"url":10188,"alt":18,"caption":18,"credit":18,"width":52,"height":1830},1657,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-29.jpg",{"questions":10190,"_type":45},[10191],{"question":10192,"answer":10193},"\u003Cp>Can you talk about what “automatic drawing” means to you, and how you started exploring it in your work?\u003C\u002Fp>\n","\u003Cp>My love for automatic drawing comes from my interest in the surrealist art movement, which I am very inspired by. I am deeply curious about artists who allow invisible forces to move their pen, such as Hilma af Klint or Wassily Kandinsky. I also grew up in a very religious family, but I’ve always rejected organized religion. However, I still believe in a spiritual realm that I am still exploring and understanding. I know that humans have always been able to access this realm through art. I’ve never been one to display literal and explanatory images in my work. I much prefer to let my intuition guide my pen, and to decode my images in the weeks, months, or even years that come after. I’ve learned a lot about myself and the world this way.\u003C\u002Fp>\n",{"images":10195,"size":56,"_type":57},[10196],{"_id":10197,"url":10198,"alt":18,"caption":18,"credit":18,"width":52,"height":1830},1658,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-28.jpg",{"questions":10200,"_type":45},[10201],{"question":10202,"answer":10203},"\u003Cp>You mention that your needlework and braiding come from the women in your life, is there a memory or moment that continues to inspire your work?\u003C\u002Fp>\n","\u003Cp>Yes, there are so many. I’ve always believed that working with hair, especially Afro-textured hair is one of the first and most intimate ways we learn to work with fibers. When I was a little girl, I always wore my hair braided and there was a weekly ritual attached to this process by numerous female caretakers, one of them being my nanny who also taught me how to sew. When I was about 12, I began wearing my hair out, which was very challenging at first. Through this experience, I learned to work with a fiber (hair) that is very delicate, yet coarse, requiring a lot of care and attention. It gave me agile hand skills that make working with textiles feel like second nature. There are so many stories I can tell about this experience that I probably can’t fit into this interview.\u003C\u002Fp>\n",{"variant":1179,"images":10205,"_type":73},[10206,10209],{"_id":10207,"url":10208,"alt":18,"caption":18,"credit":18,"width":9567,"height":4191},1659,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-28.jpg",{"_id":10210,"url":10211,"alt":18,"caption":18,"credit":18,"width":9567,"height":4191},1660,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-27.jpg",{"questions":10213,"_type":45},[10214],{"question":10215,"answer":10216},"\u003Cp>As someone shaped by a third culture experience, does your work try to preserve something you feel could otherwise be lost to time, distance, or assimilation?\u003C\u002Fp>\n","\u003Cp>I am always trying to capture small, yet special, fleeting moments in my life, but I also have come to accept that loss of culture is a part of migration that is inevitable. I try not to see it as a “bad thing,” and rather as means of forming a new identity that exists outside of nationality. The small moments I capture aren’t always experiences that are obviously related to culture and migration, but I often realize they are later while observing my past work. An example of this is in the work that I made during my second relationship that I thought, at the time, was solely about romantic love. Later, I realized that I made that work because our relationship felt like a home to me. During the pandemic, we both moved to the US on our own from Arabic speaking countries, which was so hard. Finding some to share this experience with made me feel like I could hold on to that feeling of home, no matter where I was.\u003C\u002Fp>\n",{"images":10218,"size":56,"_type":57},[10219],{"_id":10143,"url":10144,"alt":18,"caption":18,"credit":18,"width":4548,"height":10145},{"questions":10221,"_type":45},[10222],{"question":10223,"answer":10224},"\u003Cp>There’s a strong sense of rhythm and movement in your stitched lines, do you ever think of your process as choreography or something else?\u003C\u002Fp>\n","\u003Cp>I feel like the sense of rhythm in my work goes back to the automatic drawing. I let my eyes and my mind move my pen to whichever beat is playing in my mind. I don’t actively try to create a choreography to this process, I just try to let it guide me. I do feel like my all-over compositions mimic the many layers of music in a song, taking up auditory\u002Fvisual space. I have a deep love for music and I’m always listening to it while I work.\u003C\u002Fp>\n",{"images":10226,"size":56,"_type":57},[10227],{"_id":10228,"url":10229,"alt":18,"caption":18,"credit":18,"width":5638,"height":1139},1661,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-23.jpg",{"questions":10231,"_type":45},[10232],{"question":10233,"answer":10234},"\u003Cp>Do certain fabrics you work with carry emotional weight for you?\u003C\u002Fp>\n","\u003Cp>Honestly, not really. I see cloth more as an opportunity to play with color, texture, and pattern. I hand dye almost all of the cloth that I work with, usually with natural dyes. I think if anything, the cloth holds the weight of the labor and time I spend dyeing and curating it, making it feel more precious.\u003C\u002Fp>\n",{"images":10236,"size":56,"_type":57},[10237],{"_id":10238,"url":10239,"alt":18,"caption":18,"credit":18,"width":5638,"height":1139},1662,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-22.jpg",{"questions":10241,"_type":45},[10242],{"question":638,"answer":10243},"\u003Cp>Online, you can find me on instagram (@raniakadafour) or on my website (www.raniakadafour.net). I don’t have any upcoming exhibitions at the moment, but I am in the process of finding a gallery that would present my first solo exhibition of my body of soft relief work.\u003C\u002Fp>\n",{"_type":6,"_id":10245,"slug":10246,"name":10247,"index":10248,"date":10249,"thumbnails":10250,"description":18,"footerImage":10257,"categories":10259,"sections":10261},1664,"simon-dupety-2","Simon Dupety",80,"2025-08-30",{"quote":10251,"main":10252,"secondary":10256,"reverse":24},"\u003Cp>“In this way, I give a political sense to objects…”\u003C\u002Fp>\n",{"image":10253,"background":21,"fit":139},{"_id":10254,"url":10255,"alt":18,"caption":18,"credit":18,"width":5638,"height":533},1665,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-29.jpg",{"image":24,"background":21,"fit":22},{"_id":800,"url":10258,"alt":18,"caption":18,"credit":18,"width":5638,"height":1139},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-30.jpg",[10260],{"_id":33,"slug":34,"name":35},[10262,10266,10270,10274,10279,10285,10290,10295,10300,10309,10314,10322,10327,10332,10338,10343,10348,10353,10358],{"questions":10263,"_type":45},[10264],{"question":1766,"answer":10265},"\u003Cp>Hello! My name is Simon. I come from the south of France, in Nîmes, and I’ve now been living in Paris for 10 years. I’m also originally from Senegal, where I lived a few years ago.\u003C\u002Fp>\n",{"questions":10267,"_type":45},[10268],{"question":2426,"answer":10269},"\u003Cp>Well, I am an object designer. And my work is a kind of neo-crafting exploration about traditional and future ways of imagining and producing objects. I create mostly lighting, by hand or through artisan and industrial collaboration.\u003C\u002Fp>\n",{"images":10271,"size":84,"_type":57},[10272],{"_id":7892,"url":10273,"alt":18,"caption":18,"credit":18,"width":2871,"height":985},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-29.jpg",{"questions":10275,"_type":45},[10276],{"question":10277,"answer":10278},"\u003Cp>You describe your studio as a “laboratory of imaginaries.” What does this mean to you, and how does it shape your creative process?\u003C\u002Fp>\n","\u003Cp>I believe imagination has a huge political power in society, because it shapes the future by proposing a new version of the present. And if design is about functionality, I like to think an object needs to spread a new imaginary to be fully functional. We don’t need new daily life products but we definitively need new imaginaries to surround our everyday landscape.\u003Cbr \u002F>\nSo in this way, my process is shaped by digging, collecting and transforming resources to make hybride and living objects.\u003C\u002Fp>\n",{"images":10280,"size":56,"_type":57},[10281],{"_id":10282,"url":10283,"alt":18,"caption":18,"credit":18,"width":10284,"height":1663},1668,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-30.jpg",572,{"questions":10286,"_type":45},[10287],{"question":10288,"answer":10289},"\u003Cp>Your work encourages curiosity about how objects are made, what’s the last object you saw that sparked your curiosity?\u003C\u002Fp>\n","\u003Cp>Every day new stuff sparks my curiosity, so my purse is full of tiny things I find.\u003Cbr \u002F>\nMy actual collection is made of a very small shell, a strange bulb for an automobile, a sink chain, an acorn cap, a nice stone shaped by the sea, some unknown plant seed, and a 3-entry domino. It’s very inspiring for me to have all those tiny things standing side by side. Sometimes it becomes an object, and sometimes it’s just a way to rebound on a new idea.\u003C\u002Fp>\n",{"images":10291,"size":84,"_type":57},[10292],{"_id":10293,"url":10294,"alt":18,"caption":18,"credit":18,"width":10284,"height":1663},1669,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-28.jpg",{"questions":10296,"_type":45},[10297],{"question":10298,"answer":10299},"\u003Cp>Many of your pieces blend industrial materials with natural ones, what draws you to this kind of contrast?\u003C\u002Fp>\n","\u003Cp>Well, I deeply enjoy the idea that nature produces in series functional shapes, such as acorns or shells, and we can use those shapes the same way we use industrial semi-finished products. And then a piece of nature becomes a manufactured resource for object design.\u003Cbr \u002F>\nSo by working with natural semi-finished products, we create objects depending on nature. Objects we can produce in series, for a large number of people, but we can’t industrialize, we can’t overproduce.\u003Cbr \u002F>\nIn this way, I give a political sense to objects.\u003C\u002Fp>\n",{"variant":1116,"images":10301,"_type":73},[10302,10306],{"_id":10303,"url":10304,"alt":18,"caption":18,"credit":18,"width":526,"height":10305},1670,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-30.jpg",917,{"_id":10307,"url":10308,"alt":18,"caption":18,"credit":18,"width":526,"height":10305},1671,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-29.jpg",{"questions":10310,"_type":45},[10311],{"question":10312,"answer":10313},"\u003Cp>Is there a detail in one of your pieces that holds a special meaning for you, even if others might not notice it?\u003C\u002Fp>\n","\u003Cp>Yes, the story behind the Tiny Flower Chair we made with Maëva Dauriac (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmaevadauriac\u002F\">@maevadauriac\u003C\u002Fa>) is very special for me !\u003Cbr \u002F>\nIt’s an object we built with Lao artisans without speaking or drawing anything, because communication was so different. And this starting point lead us to imagine a piece of design we could have never conceive in an other way.\u003Cbr \u002F>\nWe hybridized a very common plastic chair, with balcony stainless steel ornaments. And the encounter of those two popular images gave the design of the object.\u003Cbr \u002F>\nThis way of working means a lot to me, because it opens creative process.\u003Cbr \u002F>\nFrom encounters, diversities, discoveries, we can find new and unpredictable designs.\u003C\u002Fp>\n",{"variant":1116,"images":10315,"_type":73},[10316,10319],{"_id":10317,"url":10318,"alt":18,"caption":18,"credit":18,"width":526,"height":10305},1672,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-29.jpg",{"_id":10320,"url":10321,"alt":18,"caption":18,"credit":18,"width":526,"height":10305},1673,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-28.jpg",{"questions":10323,"_type":45},[10324],{"question":10325,"answer":10326},"\u003Cp>You talk about “breaking away from industrial logic,” what does an ‘ideal production model’ look like to you in practice?\u003C\u002Fp>\n","\u003Cp>This is hard to say, because an ideal production model has to be made of plenty different systems, in my opinion.\u003Cbr \u002F>\nIt can’t be just one, as we massively have in the capitalism industry.\u003Cbr \u002F>\nIvan Illich says « The monopoly of the industrial mode of production makes people the raw material that the tool works ». And this why breaking away from industrial logic makes sense.\u003Cbr \u002F>\nIn my work, I’m seeking for a balance between what I call system : ingenious, reproducible, technical; and wild : spontaneous, living, cultural.\u003Cbr \u002F>\nSo my ideal production model is everything that fits in this wild systems definition.\u003C\u002Fp>\n",{"images":10328,"size":56,"_type":57},[10329],{"_id":10330,"url":10331,"alt":18,"caption":18,"credit":18,"width":526,"height":10305},1674,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-24.jpg",{"images":10333,"size":56,"_type":57},[10334],{"_id":10335,"url":10336,"alt":18,"caption":18,"credit":18,"width":1367,"height":10337},1675,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-23.jpg",580,{"questions":10339,"_type":45},[10340],{"question":10341,"answer":10342},"\u003Cp>If you had to create an object for a non-human user, (plants, animals, or even a landscape) what would you make?\u003C\u002Fp>\n","\u003Cp>I would like very much to create a shell for a mollusk!\u003Cbr \u002F>\nI was so impressed by the anime Scavengers Reign and all the imagination behind this alien nature. It’s magnificent; it’s the kind of stuff that instantly gives you the will to create something.\u003Cbr \u002F>\nActually I’m working on a very similar project! I’m looking forward to seeing that!\u003C\u002Fp>\n",{"images":10344,"size":56,"_type":57},[10345],{"_id":10346,"url":10347,"alt":18,"caption":18,"credit":18,"width":1367,"height":5171},1676,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-19.jpg",{"questions":10349,"_type":45},[10350],{"question":10351,"answer":10352},"\u003Cp>What’s a material or process you haven’t worked with yet but are eager to explore?\u003C\u002Fp>\n","\u003Cp>Hmmmmmmm, it’s kind of basic, but I’m, like, fascinated by chemistry glass accessories, so it could be great to imagine something through this process.\u003Cbr \u002F>\nI think my ultimate dream is to design a bulb one day! To go in the very deep creative way of defining what a lighting is, or could be.\u003Cbr \u002F>\nMaybe soon during my collaboration with the cirva (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcirvamarseille\u002F\">@cirva\u003C\u002Fa>) !\u003C\u002Fp>\n",{"images":10354,"size":56,"_type":57},[10355],{"_id":10356,"url":10357,"alt":18,"caption":18,"credit":18,"width":1367,"height":5171},1677,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-15.jpg",{"questions":10359,"_type":45},[10360],{"question":638,"answer":10361},"\u003Cp>Always in the 18th district of Paris!\u003Cbr \u002F>\nAnd soon, at the Paris Design Week in September (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fparisdesignweek\u002F\">@parisdesignweek\u003C\u002Fa>), the 2026 Matter & Shape edition (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmatterandshape\u002F\">@matterandshape\u003C\u002Fa>) and of course the Villa Noailles (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fvillanoailles\u002F\">@villanoailles\u003C\u002Fa>) exhibition next summer !\u003Cbr \u002F>\nAnd also on IG \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fsimon_dupety\u002F\">@simon_dupety\u003C\u002Fa> and on the internet at \u003Ca href=\"http:\u002F\u002Fwww.simondupety.com\">www.simondupety.com\u003C\u002Fa>.\u003C\u002Fp>\n",{"_type":6,"_id":9353,"slug":10363,"name":10364,"index":10365,"date":10366,"thumbnails":10367,"description":18,"footerImage":10374,"categories":10377,"sections":10379},"george-richardson","George Richardson",81,"2025-09-01",{"quote":10368,"main":10369,"secondary":10373,"reverse":24},"\u003Cp>“My studio is like a mad laboratory. I’ve always got more ideas than I have  time…”\u003C\u002Fp>\n",{"image":10370,"background":21,"fit":56},{"_id":10371,"url":10372,"alt":18,"caption":18,"credit":18,"width":2486,"height":4699},1681,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-30.jpg",{"image":24,"background":21,"fit":22},{"_id":10375,"url":10376,"alt":18,"caption":18,"credit":18,"width":2486,"height":5171},1682,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-30.jpg",[10378],{"_id":127,"slug":146,"name":147},[10380,10384,10388,10395,10400,10408,10411,10416,10421,10426,10434,10439,10443,10448,10453,10458,10466,10471,10476,10481,10485],{"questions":10381,"_type":45},[10382],{"question":6078,"answer":10383},"\u003Cp>My name is George Richardson. I am artist based in London, my studio is with Sarabande  Foundation up in Tottenham where I have worked for the past couple of years. My family all  come from Winsford, Cheshire but I was born in Cheltenham, UK where I lived until moving  to London to study.\u003C\u002Fp>\n",{"questions":10385,"_type":45},[10386],{"question":2426,"answer":10387},"\u003Cp>I’m a sculptor, working out of my studio at the Sarabande Foundation. My work is quite varied  and my practice is a continual questioning and re-imagining of the world around us. I work  across a lot of different materials and mediums, and I like the idea of being guided by what I’m  using. I don’t believe there are any neutral decisions in sculpture. Every material carries a  different consequence or emotional resonance. I try to be a conduit for those ideas to come to  life.\u003C\u002Fp>\n",{"variant":1116,"images":10389,"_type":73},[10390,10392],{"_id":6473,"url":10391,"alt":18,"caption":18,"credit":18,"width":4287,"height":2192},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-31.jpg",{"_id":10393,"url":10394,"alt":18,"caption":18,"credit":18,"width":4287,"height":2192},1684,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-29.jpg",{"questions":10396,"_type":45},[10397],{"question":10398,"answer":10399},"\u003Cp>You often take familiar domestic or public objects and shift them into unfamiliar  territory. What draws you to this?\u003C\u002Fp>\n","\u003Cp>My recent Solo exhibition ‘Twice As Tall In The Rain’ at Pipeline gallery was essentially a re imagined home, split across two floors with a large corridor installation downstairs and  sculptures such as a hand made bendy hat stand, soap carved umbrellas and concrete bowler  hats upstairs.\u003C\u002Fp>\n\u003Cp>I am often drawn to objects from everyday life as I like to re-imagine or re-think them  sculpturally. To shift the material or form of an object is to distance it from its reference point,  allowing an object to question the world its part of. One of my favourite books is Richard  Wentworth’s ‘Making Do and Getting By’, a photographic collection of accidental sculptures  found and documented on walks around London. In this book objects are usually being used  for the wrong purpose, teacups holding open windows and so on.\u003C\u002Fp>\n",{"variant":1116,"images":10401,"_type":73},[10402,10405],{"_id":10403,"url":10404,"alt":18,"caption":18,"credit":18,"width":1431,"height":573},1685,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-31.jpg",{"_id":10406,"url":10407,"alt":18,"caption":18,"credit":18,"width":1431,"height":573},1686,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-30.jpg",{"images":10409,"size":56,"_type":57},[10410],{"_id":10371,"url":10372,"alt":18,"caption":18,"credit":18,"width":2486,"height":4699},{"questions":10412,"_type":45},[10413],{"question":10414,"answer":10415},"\u003Cp>Do you think uncanniness is something you construct, or something that emerges from  the materials themselves?\u003C\u002Fp>\n","\u003Cp>I remember first reading about Freud’s concept of the uncanny when I moved to New York to  study sculpture in 2018 on exchange at Pratt Institute. It was the perfect time to find a text like  that as I was having first ever experience of living in a new country and I was creatively lost  before I went there, suffocated by fear. Through being in this new context my world opened up  as I started making my first casts and sculpture works and I met myself and my work anew.\u003C\u002Fp>\n\u003Cp>To answer the question though, I think uncanniness is aptly unpredictable in where it emerges  from and the most likely source is a combination of thought and material construction of a  scene or object. An uncanny material is only noticed by somebody who is willing to engage  with it.\u003C\u002Fp>\n",{"images":10417,"size":56,"_type":57},[10418],{"_id":10419,"url":10420,"alt":18,"caption":18,"credit":18,"width":1431,"height":573},1687,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-30.jpg",{"questions":10422,"_type":45},[10423],{"question":10424,"answer":10425},"\u003Cp>You ‘change the material or form of an object.’ In your work, how does material exist  separately from an object’s original function?\u003C\u002Fp>\n","\u003Cp>My practice is guided by materiality. Whatever my chosen media; wood, metal or soap, the  emotional resonance and memory imbued in the material is carried through to the final object.\u003C\u002Fp>\n\u003Cp>I do a lot of casting which leaves you with only the form of a subject, often removing its  function. Through removing the ‘use’ of an object it subsequently occupies space differently.  We often understand objects through their purpose to us and through removing the function,  the object is no longer ‘for’ you , it just is. This moment can be quite confrontational as to  really engage with a work it requires the viewer to look inward and understand that the way we  see through our eyes is so affected by our knowledge and understanding.\u003C\u002Fp>\n\u003Cp>I often work with concrete, wood, soap. Each material occupies space and relates to time and  memory differently. I’m always asking: how do I deal with this material? Often the material  gives you its own limitations. My practice involves listening, not just to the idea, but to what  the material tells me. My studio is like a mad laboratory. I’ve always got more ideas than I have  time.\u003C\u002Fp>\n",{"variant":1116,"images":10427,"_type":73},[10428,10432],{"_id":10429,"url":10430,"alt":18,"caption":18,"credit":18,"width":10431,"height":573},1688,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-29.jpg",458,{"_id":4150,"url":10433,"alt":18,"caption":18,"credit":18,"width":610,"height":573},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-25.jpg",{"questions":10435,"_type":45},[10436],{"question":10437,"answer":10438},"\u003Cp>What are liminal spaces to you and how do they fascinate you?\u003C\u002Fp>\n","\u003Cp>I spend a lot of my time in liminal spaces, particularly on the tube, being between point A and  B. This time is usually quite productive and I get a lot of sketches done if I can resist the urge to  mindlessly scroll instagram. My understanding of liminal spaces is that they can be physical and  psychological spaces of being ‘in-between’. For my recent solo show I made my largest ever  installation, a five metre long room in the basement of Pipeline named ‘The Corridor’. I also  made a corridor at the Slade too but the recent one was built entirely from scratch after existing  as drawings for two years. This work was a surreal liminal space, with a victorian stained glass  window hung above a modern carpet, old fashioned magnolia drenched wallpaper and cast  concrete and soap light switches. Corridors are transitional spaces that bodies only ever usually  pass through, rarely stopping, connecting different spaces and rooms, I see a connection  between these spaces and metaphors for chapters of life, being in-between one and the next.\u003C\u002Fp>\n",{"images":10440,"size":56,"_type":57},[10441],{"_id":4139,"url":10442,"alt":18,"caption":18,"credit":18,"width":1063,"height":573},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-24.jpg",{"questions":10444,"_type":45},[10445],{"question":10446,"answer":10447},"\u003Cp>Your titles and writings are poetic, often melancholic, It’s Not The Grey That Hurts, It’s  Wishing For Blue is a striking example. Do titles and writings come early in the  process, or only after the work unveils itself?\u003C\u002Fp>\n","\u003Cp>Funnily enough, the work you mention ‘It’s Not The Grey That Hurt’s, It’s Wishing For Blue’  is the only work I have ever titled before making. I was on the phone to my mum in February  this year we were talking about how it’s always raining in the England and she told me to learn  to love the grey. I thought this was so wise, because if you’re only happy here when it’s sunny,  you’re going to have a pretty bleak time. Perspective is key in life.\u003C\u002Fp>\n\u003Cp>Usually my titles come right at the end and I have to look at the work to find out what it should  be called. I am not a fan of leaving them untitled, I think it’s often lazy but I equally hate overly  descriptive titles that ruin the work. My perpetual scepticism around titles usually makes the  whole ordeal quite a tumultuous time. I write all of the time, pretty much every day and so I  can usually find a line or two that can work from my sketchbook. For instance, the name of my  solo show ‘Twice As Tall In The Rain’ came from some writings I had been working on to do  with puddles and reflections of the body, this idea that practice can be a bit like a shadow to the  self, connected but always distant and somewhat distorted.\u003C\u002Fp>\n",{"images":10449,"size":56,"_type":57},[10450],{"_id":10451,"url":10452,"alt":18,"caption":18,"credit":18,"width":1063,"height":573},1691,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-20.jpg",{"questions":10454,"_type":45},[10455],{"question":10456,"answer":10457},"\u003Cp>You’ve said there are no neutral decisions in sculpture. What does this mean to you?\u003C\u002Fp>\n","\u003Cp>I sincerely believe that there are no neutral decisions in sculpture, every material, choice and  symbol holds a cultural or emotional resonance that can be located to its historical or  contemporary context. As a sculptor who often works with familiar objects, I see it as my  responsibility to be aware of this and also to play with, to use to generate new works and ideas.\u003C\u002Fp>\n",{"variant":1116,"images":10459,"_type":73},[10460,10463],{"_id":10461,"url":10462,"alt":18,"caption":18,"credit":18,"width":1063,"height":573},1692,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-16.jpg",{"_id":10464,"url":10465,"alt":18,"caption":18,"credit":18,"width":1063,"height":573},1693,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-11.jpg",{"questions":10467,"_type":45},[10468],{"question":10469,"answer":10470},"\u003Cp>Is there something you always do at the start or end of your studio day, even if it’s small  or subconscious?\u003C\u002Fp>\n","\u003Cp>The end of the studio day is always better than the start. I am not a morning person my usual  studio hours are from around 11am-11pm (on a good day I might be in for ten o’clock).\u003C\u002Fp>\n\u003Cp>I am creature of habit so I could talk for a long time about this. I start every studio day with a  brew. I can’t function without it. This is nearly always accompanied by a couple of biscuits  from the jar. I absolutely love this moment of the day, taking a calm second before the chaos,  emails and dust.\u003C\u002Fp>\n\u003Cp>In terms of the end of my studio day, there’s two answers. The real end of my studio day usually  isn’t so romanticised and often involves me going back a couple of times to make sure I have  locked the door. Anxiety aside, I love evenings in my studio. I often work late as the best part of  the studio day after of the days admin, chatting and digesting is done and I can be alone with  my work, more able to focus. I do often take a picture of the studio just as I am leaving too,  maybe to see how productive I’ve been or perhaps to collect a memory of the day.\u003C\u002Fp>\n",{"images":10472,"size":84,"_type":57},[10473],{"_id":10474,"url":10475,"alt":18,"caption":18,"credit":18,"width":1197,"height":573},1694,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-8.jpg",{"questions":10477,"_type":45},[10478],{"question":10479,"answer":10480},"\u003Cp>What would you love your next solo show to feel like? a continuation, a disruption, or  something entirely unexpected?\u003C\u002Fp>\n","\u003Cp>That’s a big question. My recent solo show was two years in the making following my Slade  degree show. I left a lot of what I knew in order to make the last show and I feel now that I have  laid foundations that I am happy to walk on.\u003C\u002Fp>\n\u003Cp>The nature of my work is always changing. I don’t have a strict palette of sorts like a painter  might have and my work deals with a lot of different subjects and ideas. My work takes a long  time to make so it took me a full year to create the works for ‘Twice As Tall In The Rain’ at  Pipeline and I didn’t have much of a life or any weekends for months before. Sculpture,\u003C\u002Fp>\n\u003Cp>particularly installation, is totally absurd. An all round, logistical and practical nightmare which  is all the more difficult if you’re like me and not wealthy.\u003C\u002Fp>\n\u003Cp>That said, I have more ideas than I know what to do with at the moment. These ideas feel like a  continuation of my recent works in their scope and materiality but also very new. My Slade  degree show looked so different to my solo but I can see so much of the DNA of my bendy  snooker cue sculptures in the hat stand that I carved.\u003C\u002Fp>\n\u003Cp>Right now I have an itch to deep dive into my research, to glean and gather. This next year I will  be part of some nice group shows and hopefully build a great new studio space and then take a  year to make my next show! April 2027 would be my ideal time for my next solo.\u003C\u002Fp>\n\u003Cp>I have this exciting idea for another corridor installation, but it’s even more difficult to make  than the previous one, so I need to sit on it for a while!\u003C\u002Fp>\n",{"images":10482,"size":84,"_type":57},[10483],{"_id":8919,"url":10484,"alt":18,"caption":18,"credit":18,"width":1197,"height":5647},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F16-5.jpg",{"questions":10486,"_type":45},[10487],{"question":638,"answer":10488},"\u003Cp>I have a few favourite places in London. My studio (of course), The Hope Cafe in Highbury  and Islington to have breakfast and a brew, served by lovely Sue. Bar Italia on Frith street for a  coffee opposite Ronnie Scotts and Bradleys Spanish bar just off Oxford street.\u003C\u002Fp>\n\u003Cp>I have a few exciting projects planned for next year that I can share info about soon on my  website: \u003Ca href=\"http:\u002F\u002Fwww.georgerichardson.uk\">www.georgerichardson.uk\u003C\u002Fa> and instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fgeorge_richardson\u002F\">@george_richardson\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":10490,"slug":10491,"name":10492,"index":10493,"date":10494,"thumbnails":10495,"description":18,"footerImage":10503,"categories":10506,"sections":10508},1696,"theo-galliakis","Theo Galliakis",82,"2025-09-03",{"quote":10496,"main":10497,"secondary":10502,"reverse":24},"\u003Cp>“My aim is always to reduce forms and materials to their essential expression.”\u003C\u002Fp>\n",{"image":10498,"background":21,"fit":22},{"_id":10499,"url":10500,"alt":18,"caption":18,"credit":18,"width":10501,"height":6460},2827,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F82-head-2.jpg",1869,{"image":24,"background":21,"fit":22},{"_id":10504,"url":10505,"alt":18,"caption":18,"credit":18,"width":5093,"height":1612},1698,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-32.jpg",[10507],{"_id":33,"slug":34,"name":35},[10509,10513,10517,10522,10527,10531,10536,10541,10546,10554,10559,10564,10569,10575,10580,10585,10590,10594],{"questions":10510,"_type":45},[10511],{"question":7062,"answer":10512},"\u003Cp>My name is Theo Galliakis. I was born in Greece and I grew up on the island of Crete. Today I split my time between Greece and France. My studio is in the Champagne region, near Paris. This works well for me personally, as I am close to my partner, but also for my practice because it keeps me connected to this part of Europe’s design and art world. I go back to Greece often to be with my family and friends, to connect with the art community there and mostly to find inspiration.\u003C\u002Fp>\n",{"questions":10514,"_type":45},[10515],{"question":3060,"answer":10516},"\u003Cp>I work across architecture and objects. My aim is always to reduce forms and materials to their essential expression. I focus on how a material looks and feels, how structure defines space, and how a simple form can create a strong presence. My Greek background (the islands, the craft traditions and the myths) often informs my choices.\u003C\u002Fp>\n",{"images":10518,"size":84,"_type":57},[10519],{"_id":1185,"url":10520,"alt":18,"caption":18,"credit":18,"width":10521,"height":5081},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-31.jpg",673,{"questions":10523,"_type":45},[10524],{"question":10525,"answer":10526},"\u003Cp>Growing up in Crete, surrounded by history and mythology, what started your interest in design and making?\u003C\u002Fp>\n","\u003Cp>I grew up in Rethymno, a small but vibrant city where buildings from different centuries sit next to each other. There is Venetian, Ottoman and Greek architecture. The town is full of colour, texture and stories. I loved this richness, but it also made me want a calmer order, something you can always discover when you look closely at parts of this web. In my work I try to bring that calm: to take inspiration from the layers and the local crafts and myths of Crete (that you cannot really escape), but to answer them with clear shapes and simple materials.\u003C\u002Fp>\n",{"images":10528,"size":56,"_type":57},[10529],{"_id":1222,"url":10530,"alt":18,"caption":18,"credit":18,"width":6200,"height":4557},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-31.jpg",{"questions":10532,"_type":45},[10533],{"question":10534,"answer":10535},"\u003Cp>How do the ideas of spirituality, material transformation and simplicity intersect in your work?\u003C\u002Fp>\n","\u003Cp>For me these ideas are one thing. Spirituality means the quiet feeling a space or object can create, a kind of inner calm or focus. I’m drawn to small island chapels and monasteries like the ones I visited in Mount Athos: stone or white walls, humble materials, careful assembly. Material transformation is the way I work with metal to reveal new qualities. Simplicity is the method: by removing ornament we make room for the material and the form to be read clearly. Together they let me make objects and spaces that feel like places for attention and rest.\u003C\u002Fp>\n",{"images":10537,"size":56,"_type":57},[10538],{"_id":10539,"url":10540,"alt":18,"caption":18,"credit":18,"width":10284,"height":1787},1701,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-32.jpg",{"questions":10542,"_type":45},[10543],{"question":10544,"answer":10545},"\u003Cp>Many of your pieces transform industrial metals with fire into “pretend to be gold” surfaces. What do you hope this process allows you to express?\u003C\u002Fp>\n","\u003Cp>I often make surfaces that look golden because shine catches the eye, people are naturally drawn to light and dazzle. But the gold-like finish is not always real gold; often it sits on top of inox or other industrial metals. Those base metals are more ordinary and sometimes fragile: steel can rust, plates can oxidize. In some pieces the surface glows first, and later the underlying metal shows its own life – rust, marks, or a different colour. I like that sequence. It shows two truths at once: how quickly we notice shine, and how the material truth is slower and more honest. The contrast between surface and substrate is a way to talk about appearance, value and time.\u003C\u002Fp>\n",{"variant":1179,"images":10547,"_type":73},[10548,10551],{"_id":10549,"url":10550,"alt":18,"caption":18,"credit":18,"width":10284,"height":1787},1702,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-30.jpg",{"_id":10552,"url":10553,"alt":18,"caption":18,"credit":18,"width":10284,"height":1787},1703,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-32.jpg",{"questions":10555,"_type":45},[10556],{"question":10557,"answer":10558},"\u003Cp>How do you question the value and authenticity of ancient forms of authority in The Throne Room?\u003C\u002Fp>\n","\u003Cp>In The Throne Room I use forms that we recognise as powerful: thrones, insignias and tall vessels. But I remove the historic ornament that usually makes them look sacred or official. I use simple, less expensive metals and finishes that imitate gold. Because the materials are modest and because they will change with time, those forms lose their usual claim to authority. I still wonder whether authority is real because of the form, or because of the shiny finish, or because people believe in it. The pieces are not an answer but the question.\u003C\u002Fp>\n",{"images":10560,"size":56,"_type":57},[10561],{"_id":10562,"url":10563,"alt":18,"caption":18,"credit":18,"width":357,"height":888},1704,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FThrone-room_3.jpg",{"questions":10565,"_type":45},[10566],{"question":10567,"answer":10568},"\u003Cp>Amphoras traditionally carried goods like oil and wine. What does it mean to reimagine them from a contemporary perspective?\u003C\u002Fp>\n","\u003Cp>Amphoras were everyday objects, used mostly for oil and wine. However sometimes they were gold, made as offerings by humans to gods in order to ask for favours or simply to show their admiration. Today I keep the basic shape but change the material and finish. A modern amphora can still look familiar, but its meaning shifts depending on what it is made of and where it sits. Reimagining amphoras is a way to show how form can carry different or actually similar values in different times.\u003C\u002Fp>\n",{"images":10570,"size":56,"_type":57},[10571],{"_id":10572,"url":10573,"alt":18,"caption":18,"credit":18,"width":10073,"height":10574},2830,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002FTHEO-GAL-edit-2.jpg",2282,{"questions":10576,"_type":45},[10577],{"question":10578,"answer":10579},"\u003Cp>Why choose the bench, a simple communal form, for Bench For A Church?\u003C\u002Fp>\n","\u003Cp>The bench is a basic piece of furniture: it gathers people, it supports ritual but most importantly it stages life like the seats in a theatre. For Bench For A Church I removed decorations and returned the bench to a simple, essential form. Without ornament it becomes a place for presence and shared experience. The bench is standing when two seats or many are joined together; they can be in a chapel or any other space.\u003C\u002Fp>\n",{"images":10581,"size":84,"_type":57},[10582],{"_id":10583,"url":10584,"alt":18,"caption":18,"credit":18,"width":4213,"height":2174},1706,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-31.jpg",{"questions":10586,"_type":45},[10587],{"question":10588,"answer":10589},"\u003Cp>Outside of your practice, are there objects you find yourself drawn to or collecting?\u003C\u002Fp>\n","\u003Cp>I don’t like having many objects around me but I do have my Achilles’ heel. I collect ceramic espresso cups. They are small, handmade objects and I can get to choose a different one every morning. I love coffee and I love the small ritual. My grandfather’s village in Crete, called Margarites, has a long pottery tradition, and every summer I bring back pieces mostly from this cute place called EA Ceramics but also from other local ceramists.\u003C\u002Fp>\n",{"images":10591,"size":56,"_type":57},[10592],{"_id":1900,"url":10593,"alt":18,"caption":18,"credit":18,"width":4213,"height":2134},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-31.jpg",{"questions":10595,"_type":45},[10596],{"question":638,"answer":10597},"\u003Cp>People can find my work on Instagram (\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Ftheogalliakis\u002F\">@theogalliakis\u003C\u002Fa>) and on my website (\u003Ca href=\"https:\u002F\u002Ftheogalliakis.com\">theogalliakis.com\u003C\u002Fa>), where I post a journal. My studio in Champagne is open by appointment (La-Neuville-Aux-Larris, France).\u003Cbr \u002F>\nI am working on a project that returns to simple geometry and clear forms, an ode to simple sketches I did before and during my studies in architecture. It will be a series of sculptures that are direct and honest: what you see is what you get. I also look forward to publishing some interiors that are almost finished, including a winery vat room that I am super excited for.\u003C\u002Fp>\n",{"_type":6,"_id":10599,"slug":10600,"name":10601,"index":10602,"date":10603,"thumbnails":10604,"description":18,"footerImage":10610,"categories":10612,"sections":10614},1709,"samia-hilal","Samia Hilal",83,"2025-09-05",{"quote":10605,"main":10606,"secondary":10609,"reverse":24},"\u003Cp>“I try to design objects that reawaken that sense of wonder and openness…”\u003C\u002Fp>\n",{"image":10607,"background":21,"fit":22},{"_id":5399,"url":10608,"alt":18,"caption":18,"credit":18,"width":8035,"height":3520},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-32.jpg",{"image":24,"background":21,"fit":22},{"_id":4284,"url":10611,"alt":18,"caption":18,"credit":18,"width":8035,"height":3520},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-33.jpg",[10613],{"_id":33,"slug":34,"name":35},[10615,10619,10623,10629,10634,10640,10645,10651,10656,10663,10668,10672,10677,10684,10689,10694,10699,10707],{"questions":10616,"_type":45},[10617],{"question":1766,"answer":10618},"\u003Cp>My name is Samia Hilal. I’m originally from Paris in France and I’m still based there 🙂\u003C\u002Fp>\n",{"questions":10620,"_type":45},[10621],{"question":3060,"answer":10622},"\u003Cp>My practice focuses on tufting as a design technique, exploring how color, texture, and scale can transform yarn into functional objects such as rugs, seats, and wall pieces. I approach each work as a construction of surfaces, where composition and materiality are as important as form.\u003C\u002Fp>\n",{"variant":1179,"images":10624,"_type":73},[10625],{"_id":10626,"url":10627,"alt":18,"caption":18,"credit":18,"width":8035,"height":10628},1713,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-32.jpg",445,{"questions":10630,"_type":45},[10631],{"question":10632,"answer":10633},"\u003Cp>You studied both product design and interior architecture. How do they come together in your practice?\u003C\u002Fp>\n","\u003Cp>For me, they’re inseparable: product design trained me to focus on the details of an object, its materiality and scale, while interior architecture taught me to think spatially, in atmospheres and narratives. When I design, I’m constantly moving between the intimate scale of an object and the expansive scale of a space.\u003C\u002Fp>\n",{"images":10635,"size":56,"_type":57},[10636],{"_id":10637,"url":10638,"alt":18,"caption":18,"credit":18,"width":4562,"height":10639},1714,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-33.jpg",746,{"questions":10641,"_type":45},[10642],{"question":10643,"answer":10644},"\u003Cp>What first drew you to tufting?\u003C\u002Fp>\n","\u003Cp>At the beginning, I used to make large-scale paintings with a roller. I loved playing with flat blocks of color. The more I painted, the bigger the works became, to the point where I had to stretch the paper on the floor of my apartment, since I didn’t have enough wall space. The paintings began to feel like carpets that I had to step over while waiting for them to dry. That’s when I realized they could actually become rugs, existing in a more three-dimensional way, less like drawings and more like tactile objects.\u003C\u002Fp>\n",{"variant":1116,"images":10646,"_type":73},[10647,10649],{"_id":2445,"url":10648,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-32.jpg",{"_id":1815,"url":10650,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-32.jpg",{"questions":10652,"_type":45},[10653],{"question":10654,"answer":10655},"\u003Cp>How important is the use of vibrant colors beyond just aesthetics?\u003C\u002Fp>\n","\u003Cp>Vibrant colors are a way for me to translate memories, moods, and past experiences into objects. They act as markers of places I’ve been and references to childhood, giving my work a personal layer beyond pure aesthetics.\u003C\u002Fp>\n",{"variant":176,"images":10657,"_type":73},[10658,10660],{"_id":4372,"url":10659,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-30.jpg",{"_id":10661,"url":10662,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},1718,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-26.jpg",{"questions":10664,"_type":45},[10665],{"question":10666,"answer":10667},"\u003Cp>You mention poetry as a source of inspiration, in what ways does poetry influence your way of thinking about objects?\u003C\u002Fp>\n","\u003Cp>For me, it’s not about poetry in the form of poems, but rather about the idea of transmitting a poetic quality through objects. I’m interested in how stories, thoughts, and atmospheres can be embedded into design, so that an object carries more than function; it suggests a feeling or a way of seeing.\u003C\u002Fp>\n",{"images":10669,"size":56,"_type":57},[10670],{"_id":5458,"url":10671,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-25.jpg",{"questions":10673,"_type":45},[10674],{"question":10675,"answer":10676},"\u003Cp>How do your objects carry the sense of wonder and daydream that comes from childhood memories?\u003C\u002Fp>\n","\u003Cp>Through softness, playful shapes, and a certain naivety of gesture. Childhood is full of sensorial intensity: textures, colors, dreamlike scales; and I try to design objects that reawaken that sense of wonder and openness. By moving away from raw and rigid materials like wood or metal that dominate our everyday surroundings, and instead working with yarn and color, I aim to create objects that invite a sense of daydream and imagination.\u003C\u002Fp>\n",{"variant":1116,"images":10678,"_type":73},[10679,10682],{"_id":10680,"url":10681,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},1720,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-21.jpg",{"_id":3852,"url":10683,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-33.jpg",{"questions":10685,"_type":45},[10686],{"question":10687,"answer":10688},"\u003Cp>Have there been any unexpected conversations that emerged from viewers of your work that have stayed with you?\u003C\u002Fp>\n","\u003Cp>Yes, several people have told me that my tufted pieces reminded them of childhood, sometimes even of cartoon characters they grew up with. Once, a woman even said she felt like hugging them to feel comforted. These reactions stayed with me because I really aim to create objects that awaken memories, offer a small moment of escape, and spark a smile, creating a playful and emotional connection beyond their visual or functional presence.\u003C\u002Fp>\n",{"images":10690,"size":56,"_type":57},[10691],{"_id":10692,"url":10693,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},1722,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-17.jpg",{"questions":10695,"_type":45},[10696],{"question":10697,"answer":10698},"\u003Cp>With your experience in set design, could you see yourself tufting complete immersive environments, or continuing to focus on individual objects?\u003C\u002Fp>\n","\u003Cp>I see it as both. I love the intimacy of individual objects, but I’m very interested in translating tufting into entire environments; walls, floors, and scenographic worlds where people can step inside and feel surrounded by softness and color. I would also love to work on shop windows and displays, using tufting to create immersive, eye-catching installations that tell a story and engage viewers.\u003C\u002Fp>\n",{"variant":1116,"images":10700,"_type":73},[10701,10704],{"_id":10702,"url":10703,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},1723,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F14-12.jpg",{"_id":10705,"url":10706,"alt":18,"caption":18,"credit":18,"width":4562,"height":808},1724,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F15-9.jpg",{"questions":10708,"_type":45},[10709],{"question":638,"answer":10710},"\u003Cp>You can discover my work on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fsamia.hilal\u002F\">@samia.hilal\u003C\u002Fa>, and I also have a website where my available pieces are for sale: \u003Ca href=\"http:\u002F\u002Fsamiahilal.com\">samiahilal.com\u003C\u002Fa>\u003Cbr \u002F>\nI continue to share updates on upcoming collaborations and projects through both platforms.\u003C\u002Fp>\n",{"_type":6,"_id":10712,"slug":10713,"name":10714,"index":10715,"date":10716,"thumbnails":10717,"description":18,"footerImage":10723,"categories":10726,"sections":10728},1726,"salem-al-shammari","Salem Al Shammari",84,"2025-09-07",{"quote":10718,"main":10719,"secondary":10722,"reverse":24},"\u003Cp>“The difficulty became part of the film’s truth…”\u003C\u002Fp>\n",{"image":10720,"background":21,"fit":22},{"_id":4996,"url":10721,"alt":18,"caption":18,"credit":18,"width":3001,"height":3476},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F2-34.jpg",{"image":24,"background":21,"fit":22},{"_id":10724,"url":10725,"alt":18,"caption":18,"credit":18,"width":3001,"height":7231},1727,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F1-34.jpg",[10727],{"_id":1739,"slug":7913,"name":7914},[10729,10733,10737,10741,10746,10751,10756,10764,10769,10774,10779,10787,10792,10801,10806,10811,10816,10821],{"questions":10730,"_type":45},[10731],{"question":1766,"answer":10732},"\u003Cp>My name is Salem Al Shammari. I’m based in Riyadh, Saudi Arabia. Origin is important to me not just as geography but as atmosphere, memory, and how a place shapes silence and intensity.\u003C\u002Fp>\n",{"questions":10734,"_type":45},[10735],{"question":3060,"answer":10736},"\u003Cp>My practice is about silence, tension, and transformation. I move between photography and film, always chasing what can’t be said directly images that live between shadow and memory.\u003C\u002Fp>\n",{"images":10738,"size":56,"_type":57},[10739],{"_id":9211,"url":10740,"alt":18,"caption":18,"credit":18,"width":5468,"height":5468},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F3-33.jpg",{"questions":10742,"_type":45},[10743],{"question":10744,"answer":10745},"\u003Cp>What drew you to film and photography? Which one came first?\u003C\u002Fp>\n","\u003Cp>Photography came first, almost by accident. I was drawn to how a still frame could hold weight without needing to explain itself. Film followed, as a way to stretch that weight into time, into rhythm.\u003C\u002Fp>\n",{"images":10747,"size":56,"_type":57},[10748],{"_id":10749,"url":10750,"alt":18,"caption":18,"credit":18,"width":4079,"height":4423},1730,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F4-34.jpg",{"questions":10752,"_type":45},[10753],{"question":10754,"answer":10755},"\u003Cp>Your images carry strong moods creating a real sense of atmosphere. How do you transform inner emotions into visual form?\u003C\u002Fp>\n","\u003Cp>By letting emotions stay raw and not trying to “beautify” them. I use light, shadow, abandoned spaces, and the body itself as vessels. What’s heavy inside me becomes shape, texture, and silence in the work.\u003C\u002Fp>\n",{"variant":1116,"images":10757,"_type":73},[10758,10761],{"_id":10759,"url":10760,"alt":18,"caption":18,"credit":18,"width":6471,"height":3226},1731,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F5-31.jpg",{"_id":10762,"url":10763,"alt":18,"caption":18,"credit":18,"width":6471,"height":3226},1732,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F6-34.jpg",{"questions":10765,"_type":45},[10766],{"question":10767,"answer":10768},"\u003Cp>Do you see your films and photographs as reflections of your own inner life, or more of a collective memory?\u003C\u002Fp>\n","\u003Cp>Both. They come from my own inner states, but the spaces, objects, and fragments I photograph feel collective like echoes of things many of us carry, even if unspoken.\u003C\u002Fp>\n",{"images":10770,"size":84,"_type":57},[10771],{"_id":10772,"url":10773,"alt":18,"caption":18,"credit":18,"width":6471,"height":2606},1733,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F7-33.jpg",{"questions":10775,"_type":45},[10776],{"question":10777,"answer":10778},"\u003Cp>Your upcoming short film Noah unfolds entirely without dialogue. If words can’t speak to the audience, what do you hope will?\u003C\u002Fp>\n","\u003Cp>I hope silence itself speaks. The imagery, the sounds of the place, the gestures they carry enough to reach people directly, without explanation. My hope is for the audience to feel themselves inside Noah’s silence.\u003C\u002Fp>\n",{"variant":1116,"images":10780,"_type":73},[10781,10784],{"_id":10782,"url":10783,"alt":18,"caption":18,"credit":18,"width":1518,"height":4313},1734,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F8-33.jpg",{"_id":10785,"url":10786,"alt":18,"caption":18,"credit":18,"width":1518,"height":4313},1735,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F9-31.jpg",{"questions":10788,"_type":45},[10789],{"question":10790,"answer":10791},"\u003Cp>Was there a project that challenged you in any unexpected ways?\u003C\u002Fp>\n","\u003Cp>Yes, Noah. It challenged me on every level: filming in abandoned spaces, pushing myself and my crew with limited resources, and also confronting myself emotionally. The difficulty became part of the film’s truth.\u003C\u002Fp>\n",{"variant":1116,"images":10793,"_type":73},[10794,10798],{"_id":10795,"url":10796,"alt":18,"caption":18,"credit":18,"width":1518,"height":10797},1736,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F10-27.jpg",482,{"_id":10799,"url":10800,"alt":18,"caption":18,"credit":18,"width":1518,"height":10797},1737,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F11-26.jpg",{"questions":10802,"_type":45},[10803],{"question":10804,"answer":10805},"\u003Cp>Is there a hidden symbol or meaning in one or more of your pieces that someone unfamiliar with your work wouldn’t be able to understand right away?\u003C\u002Fp>\n","\u003Cp>Yes. Chairs, empty rooms, and broken objects appear often in my work. They aren’t random  they symbolize absence, memory, and the weight of what’s left behind. They’re quiet symbols that repeat across my practice.\u003C\u002Fp>\n",{"images":10807,"size":84,"_type":57},[10808],{"_id":10809,"url":10810,"alt":18,"caption":18,"credit":18,"width":1518,"height":10797},1738,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F12-22.jpg",{"questions":10812,"_type":45},[10813],{"question":10814,"answer":10815},"\u003Cp>Outside of filmmaking and photography, what do you find yourself drawn to?\u003C\u002Fp>\n","\u003Cp>I’m drawn to wandering at night through the city by car, or just walking. Lights, empty roads, small details like a chandelier in someone’s home, or palm trees against the sunset these moments feed me as much as making the work.\u003C\u002Fp>\n",{"images":10817,"size":56,"_type":57},[10818],{"_id":10819,"url":10820,"alt":18,"caption":18,"credit":18,"width":869,"height":681},1739,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F04\u002F13-18.jpg",{"questions":10822,"_type":45},[10823],{"question":638,"answer":10824},"\u003Cp>Instagram is the main place for now: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Ftraceofsalem\u002F\">@traceofsalem\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":10826,"slug":10827,"name":10828,"index":10829,"date":10830,"thumbnails":10831,"description":10841,"footerImage":10842,"categories":10845,"sections":10847},119,"mafalda-matos","Mafalda Matos",85,"2025-09-10",{"quote":10832,"main":10833,"secondary":10837,"reverse":24},"\u003Cp>“Against the daily loneliness of the artists we try to maintain a community of artists\u002Fdesigners.”\u003C\u002Fp>\n",{"image":10834,"background":137,"fit":139},{"_id":10835,"url":10836,"alt":18,"caption":18,"credit":18,"width":653,"height":652},125,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FVOGUE-ABRIL-349b.jpg",{"image":10838,"background":21,"fit":511},{"_id":10839,"url":10840,"alt":18,"caption":18,"credit":18,"width":1430,"height":3874},122,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FA040217-R1-12-12.jpg","\u003Cp>Graduated from the Faculty of Fine Arts (University of Lisbon) in 2014, Mafalda Matos’ artistic direction involves the relationship with space and objects compositions. The experience she intends to create is this way translated into a three-dimensional action, through colour, form, and narrative, bringing something playful and unexpected to the projects. The main idea is the relation between the space, object and human\u002F body.\u003C\u002Fp>\n",{"_id":10843,"url":10844,"alt":18,"caption":18,"credit":18,"width":2067,"height":54},124,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-13a.jpg",[10846],{"_id":33,"slug":34,"name":35},[10848,10854,10863,10871,10880,10887,10892,10900,10905,10911,10916,10921,10933,10940,10945,10952],{"questions":10849,"_type":45},[10850,10852],{"question":1171,"answer":10851},"\u003Cp>My name is \u003Cem>Mafalda Matos\u003C\u002Fem> and I’m based in Lisbon – Portugal, but up to work around the globe!\u003C\u002Fp>\n",{"question":2426,"answer":10853},"\u003Cp>I create objects \u002F art installations with a strong sense of visual composition and immersive set design – offering the viewers an experience. Around the colour, materials, objects, shape and space these are my work main focus and what moves me to projects and collaborations.\u003C\u002Fp>\n",{"variant":1116,"images":10855,"_type":73},[10856,10860],{"_id":10857,"url":10858,"alt":18,"caption":18,"credit":18,"width":653,"height":10859},127,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-2a.jpg",1790,{"_id":10861,"url":10862,"alt":18,"caption":18,"credit":18,"width":653,"height":10859},128,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-10a.jpg",{"questions":10864,"_type":45},[10865,10868],{"question":10866,"answer":10867},"\u003Cp>You move fluidly between scenography, installation, and object design, what’s the common thread that ties it all together for you?\u003C\u002Fp>\n","\u003Cp>The experience I intend to create can be translate into a three-dimensional action through COLOUR, form, and narrative, bringing something playful, fun and unexpected to the projects. The main idea is this relationship between space, object and human\u002F body.\u003C\u002Fp>\n",{"question":10869,"answer":10870},"\u003Cp>Materiality is central to your practice. Is it often the starting point, or does it emerge through the concept?\u003C\u002Fp>\n","\u003Cp>Everything happens at same time. A new project \u002F idea and the concept starts between what the client gives me (the brief) and, also, when I come to my the studio and have a look at the materials storage and references (of course). The studio – my lovely and safe working place, full of objects gives me time and inspiration for new ideas. ALSO, the visual memories that I keep in mind are the “petrol” to start and give light. I feel it´s like going to the gym, you need to practice almost everyday. The practice to create visual memories – looking around, observing, developing the eye perception through what we have around everyday. Traveling and attending exhibitions are two on the top list of are the most important things to my practice.\u003C\u002Fp>\n",{"variant":64,"images":10872,"_type":73},[10873,10877],{"_id":10874,"url":10875,"alt":18,"caption":18,"credit":18,"width":653,"height":10876},130,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FA040217-R1-16-20a.jpg",1782,{"_id":10878,"url":10879,"alt":18,"caption":18,"credit":18,"width":569,"height":9226},129,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisaBravo-29.jpg",{"first":10881,"second":24,"third":10884,"variant":94,"_type":206},{"_id":10882,"url":10883,"alt":18,"caption":18,"credit":18,"width":653,"height":10859},131,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-7.jpg",{"_id":10885,"url":10886,"alt":18,"caption":18,"credit":18,"width":653,"height":10859},132,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-6.jpg",{"questions":10888,"_type":45},[10889],{"question":10890,"answer":10891},"\u003Cp>You describe your work as spatial storytelling, what does that mean to you?\u003C\u002Fp>\n","\u003Cp>It’s like a picture, or a collage in a big scale and 3dimension. At the same time, is visual and at the same time you discover related points and a story behind that. You have the chance to connect with the shapes or the materials. You can also surround the topic\u002Fstorytelling by living the experience, when you see and “feel” the artworks. I used to think that the visual composition is the one that keeps the things in our memory. When you go to the theatre and seat, the first impact about the scenography in your eye is what keeps you connected with the spatial storytelling and the memory of what we see and experiment. I imagine the world like this, and imagine a lot with images and memories and references, before create. I like to give the experience to the people so at the end they can also dream about what they are seeing.\u003C\u002Fp>\n",{"variant":1179,"images":10893,"_type":73},[10894,10897],{"_id":10895,"url":10896,"alt":18,"caption":18,"credit":18,"width":569,"height":9226},133,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisaBravo-33.jpg",{"_id":10898,"url":10899,"alt":18,"caption":18,"credit":18,"width":653,"height":652},126,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FVOGUE-ABRIL-1147a.jpg",{"questions":10901,"_type":45},[10902],{"question":10903,"answer":10904},"\u003Cp>How do you think about guiding someone’s body, gaze, or mood through space?\u003C\u002Fp>\n","\u003Cp>Guiding the body and the viewers in this full experience is everything that can directly related to the meaning of my work. The aim is that people can feel the materials and the site specific immersive object \u002Fstructure \u002Fset design even if you don’t touch them and even if you just look at them in from\u002Fand outside of a window display.\u003C\u002Fp>\n",{"images":10906,"size":7031,"_type":57},[10907],{"_id":10908,"url":10909,"alt":18,"caption":10910,"credit":18,"width":653,"height":54},137,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-15.jpg","Installation View: Around the Clock: Live In Your Head was an exhibition at the ",{"questions":10912,"_type":45},[10913],{"question":10914,"answer":10915},"\u003Cp>You blend artisanal and industrial methods. How do you navigate that balance between tradition and innovation?\u003C\u002Fp>\n","\u003Cp>Nowadays I’m working a lot with fabric because it’s the material that I can have block colours and easily manage soft and round shapes. It’s also very important that my artwork and projects are created with some reused materials. I end up reusing so many times from past projects to present ones. Industrial methods are used when they are necessary and important for the final results. Last year I introduce some robotic movement at my objects in two windows displays, a collab with a tech company that we had together such amazing results.\u003C\u002Fp>\n",{"images":10917,"size":84,"_type":57},[10918],{"_id":10919,"url":10920,"alt":18,"caption":18,"credit":18,"width":653,"height":10859},145,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-23.jpg",{"variant":94,"images":10922,"questions":10929,"_type":122},[10923,10926],{"_id":10924,"url":10925,"alt":18,"caption":18,"credit":18,"width":569,"height":9226},143,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisaBravo-2.jpg",{"_id":10927,"url":10928,"alt":18,"caption":18,"credit":18,"width":569,"height":9226},144,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisaBravo-6.jpg",[10930],{"question":10931,"answer":10932},"\u003Cp>Do you approach art direction differently than your installation or design work, or do they feed into each other?\u003C\u002Fp>\n","\u003Cp>Yes, normally they feed each other because being a creative director includes the concept and the project, means a selection or production with a final set up of objects and space. The art installation work, art work and design, are part of, or combined with the art direction. They are one arm of the head (head of art direction) and normally its the direction for long processes of creating by hands and producing – props, objects, art installations and so on..\u003C\u002Fp>\n",{"image":10934,"variant":1116,"background":21,"secondImage":10937,"_type":98},{"_id":10935,"url":10936,"alt":18,"caption":18,"credit":18,"width":653,"height":652},150,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FDSCF1363.jpg",{"_id":10938,"url":10939,"alt":18,"caption":18,"credit":18,"width":653,"height":10859},149,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-5.jpg",{"images":10941,"size":7031,"_type":57},[10942],{"_id":10943,"url":10944,"alt":18,"caption":18,"credit":18,"width":888,"height":7793},148,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FLuisa-Bravo-70.jpg",{"questions":10946,"_type":45},[10947,10950],{"question":10948,"answer":10949},"\u003Cp>What’s something you’ve learned from being multidisciplinary that you wouldn’t have discovered otherwise?\u003C\u002Fp>\n","\u003Cp>I can’t imagine not being multidisciplinary. I never thought that I could only do one thing because I was already doing multiple things when I started working. I arrived at what I do understanding its super enthusiastic and fascinating being multidisciplinary. The different projects and ways to create are the most interesting part of developing what is an artistic work.\u003C\u002Fp>\n",{"question":638,"answer":10951},"\u003Cp>People can find me at Aberta Studio where I do almost all my work. \u003Cem>Aberta Studio\u003C\u002Fem> is a shared studio in Graça – Lisbon, that I co-found with a friend in 2020. Against the daily loneliness of the artists we try to maintain a community of artists\u002Fdesigners. There we all play and do creative stuff, from Graphic to Ceramic, most of people freelancers. It’s the place where we all share ideas and projects in the process. About the digital platforms you can find me at Instagram or my website. Thank you for this wonderfull Interview. Talk to you soon!\u003C\u002Fp>\n",{"images":10953,"size":56,"_type":57},[10954,10958],{"_id":10955,"url":10956,"alt":18,"caption":18,"credit":18,"width":10957,"height":9283},152,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F000032-rotated.jpg",2232,{"_id":10959,"url":10960,"alt":18,"caption":18,"credit":18,"width":10957,"height":9283},151,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F000030.jpg",{"_type":6,"_id":10962,"slug":10963,"name":10964,"index":10965,"date":10966,"thumbnails":10967,"description":18,"footerImage":10974,"categories":10976,"sections":10978},1741,"taelon-7","Taelon 7",86,"2025-09-12",{"quote":10968,"main":10969,"secondary":10973,"reverse":24},"\u003Cp>“overlooked spaces and the methods of subaltern groups hold untapped architectural potential…”\u003C\u002Fp>\n",{"image":10970,"background":21,"fit":56},{"_id":10971,"url":10972,"alt":18,"caption":18,"credit":18,"width":3240,"height":276},1743,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2.jpg",{"image":24,"background":21,"fit":22},{"_id":4113,"url":10975,"alt":18,"caption":18,"credit":18,"width":4825,"height":8368},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1.jpg",[10977],{"_id":644,"slug":1883,"name":1884},[10979,10983,10987,10992,10997,11002,11007,11014,11019,11027,11032,11036,11041,11046,11051,11056,11061,11069,11074,11079],{"questions":10980,"_type":45},[10981],{"question":1766,"answer":10982},"\u003Cp>I’m Juergen Benson-Strohmayer and I lead the architecture studio TAELON7. I’ve been based in Ghana for nearly a decade, with previous stays in Côte d’Ivoire, Sudan, and Ethiopia, where I also taught. While I have roots in Austria, much of my early life was spent in Eastern Europe and the Balkans providing me with a translocal, non-Western perspective that continues to shape my architectural work.\u003C\u002Fp>\n",{"questions":10984,"_type":45},[10985],{"question":2426,"answer":10986},"\u003Cp>I’m less interested in fixed forms than in dynamic structures that challenge normative ways of building and being. Our work moves between architecture and landscape, exhibitions and research. I recently renamed my practice TAELON7 as we sharpen our conceptual framework and expand our presence internationally. The name is based on found signage in a barbershop in Accra.\u003C\u002Fp>\n",{"images":10988,"size":56,"_type":57},[10989],{"_id":10990,"url":10991,"alt":18,"caption":18,"credit":18,"width":426,"height":3761},1744,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3.jpg",{"questions":10993,"_type":45},[10994],{"question":10995,"answer":10996},"\u003Cp>You describe architecture as a tool for liberation. What does liberation mean in your practice, and who is it for?\u003C\u002Fp>\n","\u003Cp>Our work often emerges from a place while simultaneously pushing against it. That tension creates space for those who rarely see themselves reflected in dominant spatial narratives: this might include younger people, perhaps people that are economically disadvantaged, or socially marginalized groups such as women or queer folks. I use architecture to challenge normative assumptions and hierarchical structures but always in dialogue with context. Framing the practice this way brings us into direct conversation with urgent global questions: identity, equity, and ecology. In Nubuke Extended (2019), our first major built work, we redefined what a cultural institution could be. The building reoriented an existing campus, activated its outdoor spaces, and gave new identity to Accra’s art scene. I still get feedback from people that it opened their perceptions to what is possible.\u003C\u002Fp>\n",{"images":10998,"size":84,"_type":57},[10999],{"_id":11000,"url":11001,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},1745,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4.jpg",{"questions":11003,"_type":45},[11004],{"question":11005,"answer":11006},"\u003Cp>You speak about “making and unmaking” in design. Can you share a moment where unmaking became more powerful than making?\u003C\u002Fp>\n","\u003Cp>We often encounter places where we see a need to unseal surfaces to create more porous landscapes or repurpose materials. Our work in Ghana has been formative in this attitude, with its maker-culture that preceded the current global trends. We were able to implement this in Vienna, Austria, in the adaptation of a fine art gallery built in a former antiquity store. We reused the chipboards we found in the existing floor buildup to create a family of objects in the turn-of-the-century spaces: from benches, tables, to the library and lighting fixtures. The act of unmaking gave the space a new coherence, which feels like a very contemporary, global attitude towards design.\u003C\u002Fp>\n",{"variant":1116,"images":11008,"_type":73},[11009,11011],{"_id":2654,"url":11010,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5.jpg",{"_id":11012,"url":11013,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},1747,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6.jpg",{"questions":11015,"_type":45},[11016],{"question":11017,"answer":11018},"\u003Cp>TAELON7 resists the idea of a signature style. What is a common thread in your work if not form?\u003C\u002Fp>\n","\u003Cp>Our projects grow out of long-term engagements with place and community. What links them is a desire to reframe how space is understood: to propose more equitable, adaptable, and sustainable futures.\u003Cbr \u002F>\nThe forms we develop often emerge from challenged typologies, material experimentation, or phased construction. We’re drawn to the unfamiliar, to spaces where architecture intersects with performance and the civic: spaces that hold bodies, tension, memory, and possibility. Much of our thinking was shaped in West Africa but resonates far beyond as the global discipline reckons with climate, identity, and access.\u003C\u002Fp>\n",{"variant":1179,"images":11020,"_type":73},[11021,11024],{"_id":11022,"url":11023,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},1748,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7.jpg",{"_id":11025,"url":11026,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},1749,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8.jpg",{"questions":11028,"_type":45},[11029],{"question":11030,"answer":11031},"\u003Cp>Many of your projects begin “from the ground” with local knowledge, materials, and people. What’s one lesson you’ve learned from listening that changed a design?\u003C\u002Fp>\n","\u003Cp>I’ve been working with artist and activist Va-Bene Elikem Fiatsi, whose studio houses both a residency program and a safe space for Ghana’s LGBT+ community in Kumasi. The program and the people living there are under threat of eviction. Rather than beginning with a building, I spent time living with the community. We developed a temporary intervention in April 2025 that acted as both functional activation and civic claim. The building project will incorporate a textile language already used across Kumasi’s urban-rural landscapes, repurposed as porous façade and performative enclosures. These elements will be collectively made and change over time. The architecture will remain open, staged, and incomplete by design.\u003C\u002Fp>\n",{"images":11033,"size":84,"_type":57},[11034],{"_id":4357,"url":11035,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9.jpg",{"questions":11037,"_type":45},[11038],{"question":11039,"answer":11040},"\u003Cp>In projects like At the Interstice, architecture seems to take on a symbolic and performative role. What makes a space “speak” to you?\u003C\u002Fp>\n","\u003Cp>A space speaks when it reveals latent possibility; when it lets something unexpected emerge.\u003Cbr \u002F>\nIn At the Interstice, a temporary installation we built in Kumasi in 2025, we linked an existing residency with an adjacent plot acquired for expansion. The work became both a connective structure and a civic claim, rehearsing futures for the site while also giving immediate presence to a community under threat. Even though we don’t begin with fixed form, we use gesture and activation to hold and reframe space in ways that shift perception and open imagination.\u003C\u002Fp>\n",{"images":11042,"size":84,"_type":57},[11043],{"_id":11044,"url":11045,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},1751,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10.jpg",{"questions":11047,"_type":45},[11048],{"question":11049,"answer":11050},"\u003Cp>What did teaching in Ethiopia reveal to you about the architectural education system and how does it influence your own approach to pedagogy or design?\u003C\u002Fp>\n","\u003Cp>At EiABC in Addis Ababa, I taught in the master’s design program, working with both recent graduates and established professionals. There was an urgency to develop new civic typologies using digital and conceptual tools rooted in Ethiopian realities. Projects included libraries, campuses, and urban parks; not as borrowed typologies but as situated, speculative architectures. It reaffirmed my belief that teaching, like design, must be grounded and context-sensitive, but also open to translocal exchange.\u003C\u002Fp>\n",{"images":11052,"size":56,"_type":57},[11053],{"_id":11054,"url":11055,"alt":18,"caption":18,"credit":18,"width":4266,"height":4701},1752,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11.jpg",{"questions":11057,"_type":45},[11058],{"question":11059,"answer":11060},"\u003Cp>Ghana appears to be a central anchor in your work. How has building in Ghana shifted your understanding of architecture as a tool?\u003C\u002Fp>\n","\u003Cp>Architecture in Ghana operates within dense networks of care, improvisation, and adaptation. It’s not an autonomous object: it’s entangled in economic, social, and material flows.\u003Cbr \u002F>\nSince 2018 I’ve been working on the Fair Trade Zone, an eco-manufacturing hub for over 200 women artisans. The first phase opened in 2022 and we are still involved in adapting, repairing, and evolving the space together. This expanded sense of the architect’s role — long before and after construction — is something I carry into every project.\u003C\u002Fp>\n",{"variant":1179,"images":11062,"_type":73},[11063,11066],{"_id":11064,"url":11065,"alt":18,"caption":18,"credit":18,"width":6316,"height":2814},1753,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12.jpg",{"_id":11067,"url":11068,"alt":18,"caption":18,"credit":18,"width":6316,"height":2814},1754,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13.jpg",{"questions":11070,"_type":45},[11071],{"question":11072,"answer":11073},"\u003Cp>Do you see parallels or major differences between working in rural sites in West Africa and overlooked spaces in Europe?\u003C\u002Fp>\n","\u003Cp>I think there’s a need to look at what already exists in more open, less judgmental ways. We can find potential and dynamism everywhere just as we can see how neglect, violence, and illiberal policies are threatening lives across contexts.\u003Cbr \u002F>\nMy work in West Africa has allowed me to create spaces that function and appear differently in ways that feel both grounded and generative. I hope to bring the same approach to other geographic contexts, where I believe overlooked spaces and the methods of subaltern groups hold untapped architectural potential.\u003C\u002Fp>\n",{"images":11075,"size":56,"_type":57},[11076],{"_id":11077,"url":11078,"alt":18,"caption":18,"credit":18,"width":6316,"height":2814},1755,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14.jpg",{"questions":11080,"_type":45},[11081],{"question":638,"answer":11082},"\u003Cp>I divide my time between London, Vienna, and Accra, where several civic and residential projects are currently in development. Our studio continues long-term work on cultural and activist spaces in Ghana, including the evolving TTOX project in Kumasi. In parallel, we are developing collaborations with fashion and music practitioners in Europe, exploring how spatial strategies can intersect with performance, identity, and material culture. You can find us online at taelon7.com and on Instagram @taelon7_.\u003C\u002Fp>\n",{"_type":6,"_id":11084,"slug":11085,"name":11086,"index":11087,"date":11088,"thumbnails":11089,"description":18,"footerImage":11096,"categories":11098,"sections":11100},1757,"lena-theodore","Léna Théodore",87,"2025-09-14",{"quote":11090,"main":11091,"secondary":11095,"reverse":24},"\u003Cp>“practicing a fully manual craft is a form of resistance in every sense…”\u003C\u002Fp>\n",{"image":11092,"background":21,"fit":22},{"_id":11093,"url":11094,"alt":18,"caption":18,"credit":18,"width":6316,"height":6055},1758,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-1.jpg",{"image":24,"background":21,"fit":22},{"_id":1918,"url":11097,"alt":18,"caption":18,"credit":18,"width":6316,"height":2814},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-1.jpg",[11099],{"_id":127,"slug":146,"name":147},[11101,11105,11109,11117,11122,11125,11130,11135,11140,11145,11150,11155,11160,11166,11171,11179,11184,11194],{"questions":11102,"_type":45},[11103],{"question":1766,"answer":11104},"\u003Cp>My name is Léna Théodore. I am an artist and designer based in Arles, in the south of France. I was born and rased in Marseille and members of my family live all across Provence.\u003C\u002Fp>\n",{"questions":11106,"_type":45},[11107],{"question":3060,"answer":11108},"\u003Cp>I explore the intersections between art, craft, and design. My work often involves crochet, textiles  archives, and vernacular objects, through which I seek to tell stories rooted in memory, tradition, and shared cultural imagination. For me, textile and thread are special vessels for storytelling, ways of sharing narratives that resonate universally and weave connections.\u003C\u002Fp>\n",{"variant":1179,"images":11110,"_type":73},[11111,11114],{"_id":11112,"url":11113,"alt":18,"caption":18,"credit":18,"width":6316,"height":3134},1760,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-1.jpg",{"_id":11115,"url":11116,"alt":18,"caption":18,"credit":18,"width":6316,"height":3134},1761,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-1.jpg",{"questions":11118,"_type":45},[11119],{"question":11120,"answer":11121},"\u003Cp>You began in graphic design before moving closer to craft. Is there a moment that drew you toward working with your hands and materials?\u003C\u002Fp>\n","\u003Cp>I greatly enjoyed studying graphic design, it taught me rigor and method. But above all, it gave me the desire to go beyond the limits imposed by digital work and contemporary methods. Within each project, I tried to incorporate some form of manual work. For my graduation project, I studied the links between graphic design and textiles. The final goal was to demonstrate how deeply textiles are embedded in our history as humanity, but also in our daily lives, in fact, in every aspect of life.\u003Cbr \u002F>\nFor this project, I experimented with several manual textile techniques, although I was already familiar with most of them thanks to my family heritage. Since then, I’ve never stopped working with textiles.\u003C\u002Fp>\n",{"images":11123,"size":56,"_type":57},[11124],{"_id":11093,"url":11094,"alt":18,"caption":18,"credit":18,"width":6316,"height":6055},{"questions":11126,"_type":45},[11127],{"question":11128,"answer":11129},"\u003Cp>Crochet is the only textile technique never mechanized. Does resisting mechanization symbolize anything for you?\u003C\u002Fp>\n","\u003Cp>Obviously, in today’s world, practicing a fully manual craft is a form of resistance in every sense. It is a daily struggle to make people understand the importance of preserving these practices and the time required to carry them out. In a world where time is so precious, dedicating oneself to a time-consuming practice like crochet as a main activity seems reckless almost unthinkable, I think that’s what I like about it.\u003C\u002Fp>\n",{"images":11131,"size":56,"_type":57},[11132],{"_id":11133,"url":11134,"alt":18,"caption":18,"credit":18,"width":6316,"height":1530},1762,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-1.jpg",{"questions":11136,"_type":45},[11137],{"question":11138,"answer":11139},"\u003Cp>In transforming vintage postcards into framed works, do you see them as part of a collective history?\u003C\u002Fp>\n","\u003Cp>Yes. A postcard is at once a trivial, everyday object and a historical archive. By framing and reworking them, I try to bring out this ambivalence between the personal and the collective, the intimate and the historical.\u003C\u002Fp>\n",{"images":11141,"size":56,"_type":57},[11142],{"_id":11143,"url":11144,"alt":18,"caption":18,"credit":18,"width":6316,"height":1530},1763,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-1.jpg",{"questions":11146,"_type":45},[11147],{"question":11148,"answer":11149},"\u003Cp>How does the Camargue region’s folklore and landscape influence you?\u003C\u002Fp>\n","\u003Cp>Camargue and more largely Provence are places of strong traditions, rituals, and symbols. Its landscapes, animals, and objects feed my imagination. I am particularly interested in how these local narratives can resonate with broader themes of memory, heritage, and identity.\u003C\u002Fp>\n\u003Cp>Today, folklore and rural traditions have been hijacked as the banner of a certain retrograde political ideology rooted in hatred of others… I want to show that our traditions belong to everyone, and that no one should claim hegemony over them.\u003C\u002Fp>\n",{"images":11151,"size":84,"_type":57},[11152],{"_id":11153,"url":11154,"alt":18,"caption":18,"credit":18,"width":6316,"height":6316},1764,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-1.jpg",{"questions":11156,"_type":45},[11157],{"question":11158,"answer":11159},"\u003Cp>How do you hope audiences unfamiliar with craft traditions perceive your work?\u003C\u002Fp>\n","\u003Cp>I hope they see beyond technique and discover the stories, emotions, and cultural references embedded in the pieces. Even without knowing the codes of craft, I want the works to remain accessible and evocative. This is why I frequently focus on everyday objects and universally shared habits in my work.\u003C\u002Fp>\n",{"images":11161,"size":56,"_type":57},[11162],{"_id":11163,"url":11164,"alt":18,"caption":18,"credit":18,"width":11165,"height":1927},1765,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-1.jpg",531,{"questions":11167,"_type":45},[11168],{"question":11169,"answer":11170},"\u003Cp>How do you translate regional stories into works that speak to a wider audience?\u003C\u002Fp>\n","\u003Cp>I believe that every story, no matter its cultural origin, will inevitably resonate with someone else’s story on the other side of the world. I think this is what makes us human, and it is the sum of these small, intimate narratives that ultimately brings us all together. I see the specificity of regional cultures as an invitation to dialogue between people, not as a means of separating them, as we are often led to believe.\u003C\u002Fp>\n",{"variant":1116,"images":11172,"_type":73},[11173,11176],{"_id":11174,"url":11175,"alt":18,"caption":18,"credit":18,"width":11165,"height":1927},1766,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-1.jpg",{"_id":11177,"url":11178,"alt":18,"caption":18,"credit":18,"width":11165,"height":1927},1767,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-1.jpg",{"questions":11180,"_type":45},[11181],{"question":11182,"answer":11183},"\u003Cp>With your practice so tied to tradition, is there a person from a time in history you would love to collaborate with?\u003C\u002Fp>\n","\u003Cp>It is linked to tradition, but also to gesture and labor. In 1889, William Morris stated that applied arts have a dual purpose: to add beauty to the outcome of human work, but also to add pleasure to the work itself. He saw the application of the “beautiful” to useful objects as an absolute necessity. He also said that “returning to ideas that seem to belong only to the past” is not a step backward, but a new beginning from a point we had abandoned. It is through this perspective that I view the current revival of traditional techniques and a more grounded way of life. I would be extremely curious to hear his thoughts on today’s world of  art and design!\u003C\u002Fp>\n",{"first":11185,"second":11188,"third":11191,"variant":94,"_type":206},{"_id":11186,"url":11187,"alt":18,"caption":18,"credit":18,"width":11165,"height":1927},1768,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-1.jpg",{"_id":11189,"url":11190,"alt":18,"caption":18,"credit":18,"width":11165,"height":1927},1769,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-1.jpg",{"_id":11192,"url":11193,"alt":18,"caption":18,"credit":18,"width":11165,"height":1927},1770,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-1.jpg",{"questions":11195,"_type":45},[11196],{"question":638,"answer":11197},"\u003Cp>In Arles ! Wandering the streets, crocheting, or browsing the flea market… But mainly in my studio ! Come and say hi !I mostly post on instagram since I keep postponing the moment to create a website… \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Flenasmouch\u002F\">@lenasmouch\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":11199,"slug":11200,"name":11201,"index":11202,"date":11203,"thumbnails":11204,"description":18,"footerImage":11211,"categories":11215,"sections":11219},1772,"lindsay-kastuk-2","Lindsay Kastuk",88,"2025-09-16",{"quote":11205,"main":11206,"secondary":11210,"reverse":24},"\u003Cp>“Restarting my life was a “forced evolution” for me…”\u003C\u002Fp>\n",{"image":11207,"background":21,"fit":22},{"_id":11208,"url":11209,"alt":18,"caption":18,"credit":18,"width":11165,"height":736},1773,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-2.jpg",{"image":24,"background":21,"fit":22},{"_id":11212,"url":11213,"alt":18,"caption":18,"credit":18,"width":11214,"height":736},1774,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-2.jpg",430,[11216],{"_id":1565,"slug":11217,"name":11218},"makeup-artist","Makeup Artist",[11220,11224,11228,11232,11237,11242,11247,11252,11257,11262,11267,11272,11277,11282,11287,11292,11297,11301,11306,11311],{"questions":11221,"_type":45},[11222],{"question":1766,"answer":11223},"\u003Cp>My name is Lindsay Kastuk, I’m based in NYC\u003C\u002Fp>\n",{"questions":11225,"_type":45},[11226],{"question":3060,"answer":11227},"\u003Cp>I’m a makeup artist that works primarily in the fashion and editorial industry. My work ranges from clean, natural makeup and gothic inspired, avant garde.\u003C\u002Fp>\n",{"images":11229,"size":56,"_type":57},[11230],{"_id":2433,"url":11231,"alt":18,"caption":18,"credit":18,"width":5647,"height":10521},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-2.jpg",{"questions":11233,"_type":45},[11234],{"question":11235,"answer":11236},"\u003Cp>You started out in luxury retail, teaching teams about building client relationships. What lessons from that world have carried into your work as a makeup artist?\u003C\u002Fp>\n","\u003Cp>I definitely learned professionalism and to work with a lot of different personalities. Patience too. We have to be on sets with so many people all day sometimes and finding ways to connect and get along makes it much more fun and a better experience for everyone. Another great skill was listening and understanding. Being able to do this helps ensure your clients are always happy.\u003C\u002Fp>\n",{"images":11238,"size":56,"_type":57},[11239],{"_id":11240,"url":11241,"alt":18,"caption":18,"credit":18,"width":350,"height":3229},1776,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-2.jpg",{"questions":11243,"_type":45},[11244],{"question":11245,"answer":11246},"\u003Cp>After moving to New York in 2016, you went through a complete restart of your life. What triggered that need for change?\u003C\u002Fp>\n","\u003Cp>Restarting my life was a “forced evolution” for me. I had moved to NYC with my then corporate job and a partner who was abusive. I went through a breakup, I turned 30, and then I was let go from my job. This was all in my first year here. I had a choice to find a new job in the same industry I was miserable in, or I could start over and find joy. I chose the scarier route but it paid off!\u003C\u002Fp>\n",{"images":11248,"size":84,"_type":57},[11249],{"_id":11250,"url":11251,"alt":18,"caption":18,"credit":18,"width":1931,"height":3229},1777,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-2.jpg",{"questions":11253,"_type":45},[11254],{"question":11255,"answer":11256},"\u003Cp>Do you remember the moment you first realized makeup was your form of creative expression?\u003C\u002Fp>\n","\u003Cp>Absolutely! I think there were a few of these moments actually. My first memory of enjoying makeup so much was in highschool. My friend and I used to go to her place after school, having just bought the latest drug store makeup release, and do our makeup for fun. We then reconnected later in life over makeup and doing it for fun! Then again, once I moved to NYC I was doing it on myself to get through the really stressful times. That’s why I realized makeup made me happy and I wanted to take the opportunity of losing my job to pursue a career as a makeup artist.\u003C\u002Fp>\n",{"images":11258,"size":56,"_type":57},[11259],{"_id":11260,"url":11261,"alt":18,"caption":18,"credit":18,"width":1931,"height":3229},1778,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-2.jpg",{"questions":11263,"_type":45},[11264],{"question":11265,"answer":11266},"\u003Cp>Do you see your artistry as a continuation of your past experiences, or as a completely new chapter?\u003C\u002Fp>\n","\u003Cp>I see it as a new chapter, but built off of past experiences. I might have never ended up where I am today without my past experiences, but they were pretty tough times so I really wanted to put them behind me. I’m big on acknowledging and moving on.\u003C\u002Fp>\n",{"images":11268,"size":84,"_type":57},[11269],{"_id":11270,"url":11271,"alt":18,"caption":18,"credit":18,"width":6522,"height":3229},1779,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-2.jpg",{"questions":11273,"_type":45},[11274],{"question":11275,"answer":11276},"\u003Cp>How do you approach skin as a medium, do you treat it more like canvas, sculpture, or something else?\u003C\u002Fp>\n","\u003Cp>I definitely treat it like a canvas. It’s super exciting because I get a different canvas every time. People’s faces and personalities tend to help me create something that I think suits them as well as the concept.\u003C\u002Fp>\n",{"images":11278,"size":56,"_type":57},[11279],{"_id":11280,"url":11281,"alt":18,"caption":18,"credit":18,"width":595,"height":4623},1781,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-2.jpg",{"questions":11283,"_type":45},[11284],{"question":11285,"answer":11286},"\u003Cp>What details in a face catch your attention most when you begin working on someone?\u003C\u002Fp>\n","\u003Cp>Eyes! I am totally obsessed with eyes! I tend to work with a lot of shapes and textures around the eyes to draw attention to them and I think they are just so cool. They are all so unique like fingerprints!\u003C\u002Fp>\n",{"images":11288,"size":56,"_type":57},[11289],{"_id":11290,"url":11291,"alt":18,"caption":18,"credit":18,"width":595,"height":5588},1780,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-2.jpg",{"questions":11293,"_type":45},[11294],{"question":11295,"answer":11296},"\u003Cp>Where do you think your signature looks come from?\u003C\u002Fp>\n","\u003Cp>I think it comes a lot from other art I like outside of the fashion industry. I’ve always been drawn to the dark and macabre so I think this sort of dark elegance can come through in my work when I do creative makeup. I mean I insisted I be Morticia Addams for Halloween when I was 6. I think my tastes were decided very young and they haven’t changed much!\u003C\u002Fp>\n",{"images":11298,"size":56,"_type":57},[11299],{"_id":10876,"url":11300,"alt":18,"caption":18,"credit":18,"width":595,"height":4623},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-2.jpg",{"questions":11302,"_type":45},[11303],{"question":11304,"answer":11305},"\u003Cp>Your work has been featured in Vogue US, Vogue China, The Violet Book, and beyond. Do you remember the first time you saw your work in print, and what it meant to you?\u003C\u002Fp>\n","\u003Cp>I do remember! It was a skincare beauty story for Harper’s Bazaar Arabia. I actually messaged my friend who lived in Dubai at the time frantic to buy it for me so I could see it one day! I still have it on a shelf in my living room.\u003C\u002Fp>\n",{"images":11307,"size":56,"_type":57},[11308],{"_id":11309,"url":11310,"alt":18,"caption":18,"credit":18,"width":595,"height":4623},1783,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-2.jpg",{"questions":11312,"_type":45},[11313],{"question":638,"answer":11314},"\u003Cp>My Instagram is @lindsaykastuk. That’s where I share all my recent work and you can follow along what I’m working on!\u003C\u002Fp>\n",{"_type":6,"_id":11316,"slug":11317,"name":11318,"index":11319,"date":11320,"thumbnails":11321,"description":18,"footerImage":11329,"categories":11333,"sections":11337},1785,"naso-art-journal","Naso Art Journal",89,"2025-09-18",{"quote":11322,"main":11323,"secondary":11328,"reverse":24},"\u003Cp>“It’s a dual role that honors where we come from and opens doors to where we’re going…”\u003C\u002Fp>\n",{"image":11324,"background":21,"fit":56},{"_id":11325,"url":11326,"alt":18,"caption":18,"credit":18,"width":595,"height":11327},1786,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-3.jpg",415,{"image":24,"background":21,"fit":22},{"_id":11330,"url":11331,"alt":18,"caption":18,"credit":18,"width":11332,"height":3286},1787,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-3.jpg",624,[11334],{"_id":1400,"slug":11335,"name":11336},"magazine","Magazine",[11338,11343,11347,11351,11356,11362,11367,11372,11377,11382,11387,11393,11398,11403,11408],{"questions":11339,"_type":45},[11340],{"question":11341,"answer":11342},"\u003Cp>What are your names and where are you from\u002Fbased?\u003C\u002Fp>\n","\u003Cp>We’re Nayla and Soraya, co-founders of Naso Art Journal and friends since high school. We share the same passions and felt very natural to come together and build ‘Naso’. The journal was born in Bahrain, which remains at the heart of our story, though our reach now extends across the wider MENA region and beyond. Nayla is based in Bahrain & Soraya in Paris. The beauty of the journal is that it travels far beyond where we are currently rooted.\u003C\u002Fp>\n",{"questions":11344,"_type":45},[11345],{"question":3060,"answer":11346},"\u003Cp>Our practice is rooted in amplifying voices through genuine narrative. Naso is a platform of storytelling, curation, and cultural reframing — a space where artists from the MENA region are helped to share their narratives with honesty and integrity.\u003C\u002Fp>\n",{"images":11348,"size":56,"_type":57},[11349],{"_id":7642,"url":11350,"alt":18,"caption":18,"credit":18,"width":653,"height":503},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FWhatsApp-Image-2025-08-29-at-22.00.35-4.jpeg",{"questions":11352,"_type":45},[11353],{"question":11354,"answer":11355},"\u003Cp>Was there a particular gap in the MENA or global art ecosystem that made you feel like Naso had to exist?\u003C\u002Fp>\n","\u003Cp>Yes — we felt strongly that MENA artists deserved a platform that places them at the center of their own stories. Too often, regional voices are mediated through Western-centric lenses. Naso exists to fill that gap, by providing a meaningful and sustainable space for MENA art within the global conversation.\u003C\u002Fp>\n",{"variant":1116,"images":11357,"_type":73},[11358,11360],{"_id":10859,"url":11359,"alt":18,"caption":18,"credit":18,"width":11332,"height":3286},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-3.jpg",{"_id":5454,"url":11361,"alt":18,"caption":18,"credit":18,"width":11332,"height":3286},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-3.jpg",{"questions":11363,"_type":45},[11364],{"question":11365,"answer":11366},"\u003Cp>In your interviews, you emphasize letting artists tell their stories “exactly as they wish to share them.” Why do you feel like this is important?\u003C\u002Fp>\n","\u003Cp>Because authentic storytelling matters. For MENA artists especially, whose histories and narratives have often been framed by others, it’s vital that they speak in their own words. It’s not just about representation, but about agency — ensuring that their voices are heard with integrity, complexity, and pride.\u003C\u002Fp>\n",{"questions":11368,"_type":45},[11369],{"question":11370,"answer":11371},"\u003Cp>You’ve launched Collaborations as a new segment, what does it mean to collaborate beyond just working together?\u003C\u002Fp>\n","\u003Cp>For us, collaboration is about shared purpose. It’s more than co-creating content — it’s about aligning visions, values, and commitments to equity, dialogue, and cultural impact. Each collaboration becomes a catalyst for something larger than the sum of its parts.\u003C\u002Fp>\n",{"images":11373,"size":56,"_type":57},[11374],{"_id":11375,"url":11376,"alt":18,"caption":18,"credit":18,"width":11332,"height":3286},1792,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-3.jpg",{"questions":11378,"_type":45},[11379],{"question":11380,"answer":11381},"\u003Cp>Do you see the journal as more of a mirror for the region, or as a bridge from the region to the world?\u003C\u002Fp>\n","\u003Cp>We see it as both. Naso reflects the richness of the region back to itself, while also acting as a bridge that connects MENA artists to the international art community. It’s a dual role that honors where we come from and opens doors to where we’re going.\u003C\u002Fp>\n",{"questions":11383,"_type":45},[11384],{"question":11385,"answer":11386},"\u003Cp>If Naso could rewire a part of how the global art market engages with MENA artists, what would you want to change?\u003C\u002Fp>\n","\u003Cp>We’d want to move away from tokenism and trend-driven interest, toward long-term commitment. The global market should recognize the depth, history, and multiplicity of MENA art — not as a niche, but as an integral part of the global cultural landscape.\u003C\u002Fp>\n",{"variant":1116,"images":11388,"_type":73},[11389,11391],{"_id":3374,"url":11390,"alt":18,"caption":18,"credit":18,"width":11332,"height":2871},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-3.jpg",{"_id":4061,"url":11392,"alt":18,"caption":18,"credit":18,"width":11332,"height":2871},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-3.jpg",{"questions":11394,"_type":45},[11395],{"question":11396,"answer":11397},"\u003Cp>When you look at the regional art scene today, what is standing out to you the most?\u003C\u002Fp>\n","\u003Cp>The sheer diversity and dynamism. From experimental practices to historically grounded work, artists in the region are pushing boundaries and reframing narratives with remarkable boldness. What excites us most is the energy of younger voices entering the conversation with fresh perspectives. Our interview segment is actually a way for us to elevate the next generation’s voices: the artists that we believe will one day to leave a mark in MENA art history.\u003C\u002Fp>\n",{"questions":11399,"_type":45},[11400],{"question":11401,"answer":11402},"\u003Cp>You described Naso as more than a journal, almost as a catalyst for cultural reframing. How do you think art can help shape how the region is understood culturally, socially, and historically?\u003C\u002Fp>\n","\u003Cp>Art reveals the layers of who we are. It preserves untold histories, challenges stereotypes, and creates empathy across cultures. By amplifying MENA artists, we hope to shift how the region is seen — not as a monolith, but as a vibrant, multifaceted cultural force.\u003C\u002Fp>\n",{"questions":11404,"_type":45},[11405],{"question":11406,"answer":11407},"\u003Cp>You’ve said, “We don’t know exactly where the future will take us — and in many ways, that’s the most exciting part.” What directions do you feel most drawn toward right now?\u003C\u002Fp>\n","\u003Cp>Right now, we’re excited about expanding our collaborations — from regional partnerships to features at international fairs. We’re also building toward our next issue launch in December and preparing for a major project in 2026.\u003C\u002Fp>\n",{"questions":11409,"_type":45},[11410],{"question":638,"answer":11411},"\u003Cp>You can find us online at \u003Ca href=\"http:\u002F\u002Fnasoartjournal.com\">nasoartjournal.com\u003C\u002Fa> and on Instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fnaso_artjournal\u002F\">@naso_artjournal\u003C\u002Fa>. Send us a message anytime! We are always very happy to hear from our audience.\u003C\u002Fp>\n",{"_type":6,"_id":11413,"slug":11414,"name":11415,"index":11416,"date":11417,"thumbnails":11418,"description":18,"footerImage":11426,"categories":11430,"sections":11432},1796,"mia-gosset","Mia Gosset",90,"2025-09-20",{"quote":11419,"main":11420,"secondary":11425,"reverse":24},"\u003Cp>‘When you teach yourself, you sort of work backwards…”\u003C\u002Fp>\n",{"image":11421,"background":21,"fit":139},{"_id":11422,"url":11423,"alt":18,"caption":18,"credit":18,"width":10238,"height":11424},2848,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F90-head-1.jpg",2148,{"image":24,"background":21,"fit":22},{"_id":11427,"url":11428,"alt":18,"caption":18,"credit":18,"width":3835,"height":11429},1798,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-4.jpg",623,[11431],{"_id":33,"slug":34,"name":35},[11433,11437,11441,11446,11451,11455,11460,11468,11473,11481,11486,11496,11501,11506,11511,11516,11521,11529,11534,11539],{"questions":11434,"_type":45},[11435],{"question":1766,"answer":11436},"\u003Cp>Hello! My name is Mia Gosset. I was born in France but lived almost my entire life in Brussels. Today, I’m based in Paris.\u003C\u002Fp>\n",{"questions":11438,"_type":45},[11439],{"question":3060,"answer":11440},"\u003Cp>I create objects, jewelry, and furniture. My main medium is metal, silver, bronze, and brass. I only produce unique pieces that weave together personal and popular mythologies, like relics to be collected in order to tell one’s story, and a little bit of others’ as well.\u003C\u002Fp>\n",{"images":11442,"size":56,"_type":57},[11443],{"_id":11444,"url":11445,"alt":18,"caption":18,"credit":18,"width":3835,"height":6845},1799,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-4.jpg",{"questions":11447,"_type":45},[11448],{"question":11449,"answer":11450},"\u003Cp>You studied fashion design at École Duperré but moved into metalwork. What inspired this shift?\u003C\u002Fp>\n","\u003Cp>When I was in school, I met someone, who became my boyfriend at the time. He had started making jewelry and one day suggested that I try it too. We began by casting metal in the kitchen, and I made my first rings. That was a real moment of self-discovery. I had always dreamed of making objects, I was a collector by nature, but it felt impossible. I was used to objects from another time, made with incredible craftsmanship, and I couldn’t imagine ever possessing such know-how.\u003Cbr \u002F>\nAlso, I had been sewing obsessively since the age of 12. My grandmother « Mado » was a provincial seamstress, and I always saw her sewing. I think I chose the path of clothing design out of ease, simply because it was the only world I really knew.\u003C\u002Fp>\n",{"images":11452,"size":84,"_type":57},[11453],{"_id":652,"url":11454,"alt":18,"caption":18,"credit":18,"width":719,"height":3679},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-4.jpg",{"questions":11456,"_type":45},[11457],{"question":11458,"answer":11459},"\u003Cp>What was it like teaching yourself metalwork outside of formal training\u003C\u002Fp>\n","\u003Cp>When you teach yourself, you sort of work backwards. My process has always been to start with an idea and then figure out how to make it. I’m still learning with every new variation of a piece. I think this independence gave me the greatest creative freedom, and also a reflex to always seek out complexity, because in the beginning I wasn’t even aware of how technically difficult some imagined pieces were.\u003C\u002Fp>\n",{"variant":176,"images":11461,"_type":73},[11462,11465],{"_id":11463,"url":11464,"alt":18,"caption":18,"credit":18,"width":719,"height":2149},1801,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-4.jpg",{"_id":11466,"url":11467,"alt":18,"caption":18,"credit":18,"width":719,"height":2149},1802,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-4.jpg",{"questions":11469,"_type":45},[11470],{"question":11471,"answer":11472},"\u003Cp>You said that working with metal feels “as much physical as it is mental.” Can you describe what happens while in the process?\u003C\u002Fp>\n","\u003Cp>Like many crafts, it demands a lot physically. You work in a dusty environment, sometimes with heavy tools or machines depending on the object. A kind of mental bubble forms. In those moments, it’s a total commitment, body and mind fully engaged.\u003C\u002Fp>\n",{"variant":1116,"images":11474,"_type":73},[11475,11478],{"_id":11476,"url":11477,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1804,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-3.jpg",{"_id":11479,"url":11480,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1805,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-3.jpg",{"questions":11482,"_type":45},[11483],{"question":11484,"answer":11485},"\u003Cp>Growing up near one of Europe’s largest flea markets shaped your way of seeing objects, and you described collecting with your father as a “language of love.” What did you collect together, and how has this shaped your relationship with creating objects?\u003C\u002Fp>\n","\u003Cp>My father would wake me up at 6:30 on weekends so we could go to the flea market in Waterloo. We would walk the aisles methodically, but separately, so no one would see us together. At the end of the aisle we’d meet again, share what we’d spotted, and he would send me to negotiate. He always gave me less money than needed, so I had no choice but to bring the price down. It cured my shyness.\u003C\u002Fp>\n\u003Cp>I started when I was 12. The dealers couldn’t understand my interest in certain objects, and honestly, neither could I. At the time we collected padlocks, cameras and old film equipment, sculptural fragments detached from their bases, measuring instruments and tools, carved bone miniatures, religious objects. We loved materials like metal, wood, bone, leather. There were no rules in our hunting. I think this pushed me toward details, and sometimes toward a kind of maximalism in my compositions. It also helped me understand what I want to infuse into my pieces, that clients might feel, in their own way, what I once felt when discovering those objects.\u003C\u002Fp>\n",{"first":11487,"second":11490,"third":11493,"variant":94,"_type":206},{"_id":11488,"url":11489,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1806,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-3.jpg",{"_id":11491,"url":11492,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1807,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-3.jpg",{"_id":11494,"url":11495,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1808,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-2.jpg",{"questions":11497,"_type":45},[11498],{"question":11499,"answer":11500},"\u003Cp>Do you think of each piece as creating a world of its own, and if so, what kinds of worlds inspire you?\u003C\u002Fp>\n","\u003Cp>I wouldn’t say I create a whole new world. Rather, I compose from our existing mythologies, personal, historical, and popular. Illuminations, fairy tales, religions, Ancient Rome, and the medieval era are all materials that feed my imagination. But in the end, it’s always intimate, weaving fragments of collective stories in order to reveal something personal.\u003C\u002Fp>\n",{"images":11502,"size":84,"_type":57},[11503],{"_id":11504,"url":11505,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1809,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-2.jpg",{"questions":11507,"_type":45},[11508],{"question":11509,"answer":11510},"\u003Cp>Are there recurring details in your work that feel especially personal or symbolic to you?\u003C\u002Fp>\n","\u003Cp>Yes, there are recurring elements in my figurative vocabulary like animals, plants, hands, symbols that help me tell stories. Then there are the moving parts: pieces that dangle, slide on rails, or rotate on an axis. These allow me to give kinetic energy to the work. Sometimes they extend the narrative, other times they’re simply a way to make the objects interactive.\u003Cbr \u002F>\nThese aspects are important to me, they allow the works to transcend their stoic status as mere objects. Whether through entwined figures or moving parts, you lean in, you touch, you interact and you make the piece your own.\u003C\u002Fp>\n",{"images":11512,"size":56,"_type":57},[11513],{"_id":11514,"url":11515,"alt":18,"caption":18,"credit":18,"width":11332,"height":2871},1810,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-4.jpg",{"questions":11517,"_type":45},[11518],{"question":11519,"answer":11520},"\u003Cp>Do you approach collaborations differently from personal work, or do you see them as opportunities to merge?\u003C\u002Fp>\n","\u003Cp>Collaborations complement my personal practice. I know I can’t master everything, and\u003Cbr \u002F>\ncollaboration is essential for going further. I love working with others, the process is slower, more reflective, more deliberate. It results in more measured objects. For me, collaboration is a space where I strive to create something timeless, less impulsive. There’s beauty in aligning on choices, making stylistic concessions, adapting creative reflexes. I learn to think differently and enrich myself with new technical challenges and know-how.\u003C\u002Fp>\n",{"variant":1179,"images":11522,"_type":73},[11523,11526],{"_id":11524,"url":11525,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1811,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-1.jpg",{"_id":11527,"url":11528,"alt":18,"caption":18,"credit":18,"width":1827,"height":5304},1812,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15.jpg",{"questions":11530,"_type":45},[11531],{"question":11532,"answer":11533},"\u003Cp>You’ve said you’d like to keep exploring different scopes, from jewelry to furniture. Where do you see yourself expanding next?\u003C\u002Fp>\n","\u003Cp>Time is what I lack most. There’s still much to do in jewelry, but collaborations are already allowing me to venture into furniture. One of my early projects, a horse sculpture whose flank opens as a chest, was a way to approach furniture alone. In the long run, I’d love to be able to produce a complete environment.\u003C\u002Fp>\n",{"images":11535,"size":84,"_type":57},[11536],{"_id":11537,"url":11538,"alt":18,"caption":18,"credit":18,"width":1827,"height":1827},1813,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16.jpg",{"questions":11540,"_type":45},[11541],{"question":638,"answer":11542},"\u003Cp>People can find me on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmiagosset\u002F?g=5\">@miagosset\u003C\u002Fa>, and some pieces are available at Galerie Paradis in Paris.\u003C\u002Fp>\n",{"_type":6,"_id":3399,"slug":11544,"name":11545,"index":11546,"date":11547,"thumbnails":11548,"description":18,"footerImage":11555,"categories":11558,"sections":11560},"salem-mohammed","Salem Mohammed",91,"2025-09-23",{"quote":11549,"main":11550,"secondary":11554,"reverse":24},"\u003Cp>“I try to capture the essence of these places before they fade…”\u003C\u002Fp>\n",{"image":11551,"background":21,"fit":22},{"_id":11552,"url":11553,"alt":18,"caption":18,"credit":18,"width":5795,"height":1827},1817,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-5.jpg",{"image":24,"background":21,"fit":22},{"_id":11556,"url":11557,"alt":18,"caption":18,"credit":18,"width":5795,"height":1827},1818,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-5.jpg",[11559],{"_id":1739,"slug":7913,"name":7914},[11561,11565,11569,11574,11579,11587,11592,11596,11601,11606,11611,11616,11621,11629,11634,11638,11643],{"questions":11562,"_type":45},[11563],{"question":1766,"answer":11564},"\u003Cp>My name is Salem Mohammed. I’m a Saudi artist, born and raised in the southwestern side of Riyadh. I grew up in a loving, supportive family that has had a strong impact on my artistic vision.\u003C\u002Fp>\n",{"questions":11566,"_type":45},[11567],{"question":3060,"answer":11568},"\u003Cp>My practice is an exploration of cities as living memories capturing fleeting moments, hidden spaces, and the emotions they hold.\u003C\u002Fp>\n",{"images":11570,"size":56,"_type":57},[11571],{"_id":11572,"url":11573,"alt":18,"caption":18,"credit":18,"width":5795,"height":1827},1819,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-5.jpg",{"questions":11575,"_type":45},[11576],{"question":11577,"answer":11578},"\u003Cp>What first drew you to pick up a camera and start observing the city around you?\u003C\u002Fp>\n","\u003Cp>Over time, I realized there was something unique in the way I see the world. I’ve always been drawn to the places and details that most people overlook. There’s so much beauty hidden in plain sight beauty that often goes unnoticed and photography became my way of bringing it to light.\u003C\u002Fp>\n",{"variant":1116,"images":11580,"_type":73},[11581,11584],{"_id":11582,"url":11583,"alt":18,"caption":18,"credit":18,"width":5795,"height":1827},1820,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-5.jpg",{"_id":11585,"url":11586,"alt":18,"caption":18,"credit":18,"width":5795,"height":1827},1821,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-5.jpg",{"questions":11588,"_type":45},[11589],{"question":11590,"answer":11591},"\u003Cp>How does your personal identity filter into your visual storytelling?\u003C\u002Fp>\n","\u003Cp>My identity shapes how I see and capture the city. Growing up in Riyadh, my photographs reflect personal memories and emotions tied to its spaces.\u003C\u002Fp>\n",{"images":11593,"size":84,"_type":57},[11594],{"_id":2717,"url":11595,"alt":18,"caption":18,"credit":18,"width":1061,"height":3625},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-5.jpg",{"questions":11597,"_type":45},[11598],{"question":11599,"answer":11600},"\u003Cp>Your photographs capture stillness and liminal spaces. What is it about in-between places that speaks to you?\u003C\u002Fp>\n","\u003Cp>Liminal spaces are transitional places like hallways, empty streets, or waiting areas, existing between one moment and the next. I’m drawn to them because they reflect change, stillness, and the passage of time.\u003C\u002Fp>\n",{"images":11602,"size":56,"_type":57},[11603],{"_id":11604,"url":11605,"alt":18,"caption":18,"credit":18,"width":1061,"height":3625},1823,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-5.jpg",{"questions":11607,"_type":45},[11608],{"question":11609,"answer":11610},"\u003Cp>You say your edits reflect your mental state at the time. Do you see each photograph as a diary entry of sorts?\u003C\u002Fp>\n","\u003Cp>Yes, in a way each photograph feels like a page from my diary. The way I edit reflects my emotions and state of mind at that moment, as well as what suits the atmosphere of the picture so i prefer turning the image into a personal memory rather than just a visual record.\u003C\u002Fp>\n",{"images":11612,"size":56,"_type":57},[11613],{"_id":11614,"url":11615,"alt":18,"caption":18,"credit":18,"width":1061,"height":3625},1824,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-4.jpg",{"questions":11617,"_type":45},[11618],{"question":11619,"answer":11620},"\u003Cp>Nostalgia is central to your work and with Riyadh in constant transformation, what do you feel most compelled to preserve through your lens?\u003C\u002Fp>\n","\u003Cp>I try to capture the essence of these places before they fade, keeping their stories alive amidst Riyadh’s constant transformation.\u003C\u002Fp>\n",{"variant":1116,"images":11622,"_type":73},[11623,11626],{"_id":11624,"url":11625,"alt":18,"caption":18,"credit":18,"width":1061,"height":3625},1825,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-4.jpg",{"_id":11627,"url":11628,"alt":18,"caption":18,"credit":18,"width":1061,"height":3625},1826,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-4.jpg",{"questions":11630,"_type":45},[11631],{"question":11632,"answer":11633},"\u003Cp>Do you think your familiarity with the city lets you capture moments an outsider might miss?\u003C\u002Fp>\n","\u003Cp>Yes, people often ask me if these places are really in Riyadh. Some are close to where I grew up, so the architecture feels familiar, making it natural for me to connect with on a deeper level.\u003C\u002Fp>\n",{"images":11635,"size":84,"_type":57},[11636],{"_id":8062,"url":11637,"alt":18,"caption":18,"credit":18,"width":8130,"height":3625},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-4.jpg",{"questions":11639,"_type":45},[11640],{"question":11641,"answer":11642},"\u003Cp>What kind of emotional response do you hope viewers feel when they look at your photographs?\u003C\u002Fp>\n","\u003Cp>I don’t expect viewers to feel what I felt when I took the photograph. My goal is to create a space where they can bring their own memories and emotions to see a reflection of themselves within the image.\u003C\u002Fp>\n",{"questions":11644,"_type":45},[11645],{"question":638,"answer":11646},"\u003Cp>People can find my work on my art account @nostalgicbricks\u003C\u002Fp>\n\u003Cp>And my personal account @officiallysalem\u003C\u002Fp>\n",{"_type":6,"_id":11648,"slug":11649,"name":11650,"index":11651,"date":11652,"thumbnails":11653,"description":18,"footerImage":11660,"categories":11662,"sections":11664},1829,"giunia","GIUNIA",92,"2025-09-25",{"quote":11654,"main":11655,"secondary":11659,"reverse":24},"\u003Cp>“muses are pioneers of a movement that doesn’t yet exist, their own movement”\u003C\u002Fp>\n",{"image":11656,"background":21,"fit":139},{"_id":11657,"url":11658,"alt":18,"caption":18,"credit":18,"width":987,"height":3689},1831,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-6.jpg",{"image":24,"background":21,"fit":22},{"_id":1468,"url":11661,"alt":18,"caption":18,"credit":18,"width":987,"height":3625},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-6.jpg",[11663],{"_id":33,"slug":34,"name":35},[11665,11670,11674,11681,11686,11691,11696,11702,11707,11717,11722,11730,11735,11740,11745,11750,11755,11760],{"questions":11666,"_type":45},[11667],{"question":11668,"answer":11669},"\u003Cp>What’s your name, and where are you from\u002Fbased?\u003C\u002Fp>\n","\u003Cp>My name is Giunia. It comes from Latin and means “June.” In my 30 years, I’ve never met anyone else with the same name. As a child, that uniqueness wasn’t always easy; other kids teased me, and I was quickly labelled the “strange one.” With time, though, I grew to love my name and its one-of-a-kind nature, so I wanted my brand to reflect that same energy.\u003Cbr \u002F>\nI was born in Naples, Italy, but I’ve spent the last 10 years living abroad. Today, Amsterdam is both my home and the base of my brand.\u003C\u002Fp>\n",{"questions":11671,"_type":45},[11672],{"question":3060,"answer":11673},"\u003Cp>Artisanal, punk, romantic. Raw, earthy, authentic, versatile.\u003C\u002Fp>\n",{"variant":1116,"images":11675,"_type":73},[11676,11679],{"_id":11677,"url":11678,"alt":18,"caption":18,"credit":18,"width":987,"height":3689},1832,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-6.jpg",{"_id":6836,"url":11680,"alt":18,"caption":18,"credit":18,"width":987,"height":3689},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-6.jpg",{"questions":11682,"_type":45},[11683],{"question":11684,"answer":11685},"\u003Cp>What first inspired you to create GIUNIA, and how did you know you had to bring it to life?\u003C\u002Fp>\n","\u003Cp>I’ve always known I wanted to create something of my own, but I wasn’t sure when it would happen or what form it would take. I started experimenting during the COVID period, but didn’t feel it was the right time. Then, about two years ago, I found myself in a job that was “only” four days a week. That extra time and energy allowed me to really reflect on my identity outside of working for others. It was surprising to me, since graduating in Fashion Design in 2018, I hadn’t pursued any personal projects aside from sewing my own clothes and small experiments.\u003Cbr \u002F>\nI chose to focus on jewellery, even though I’m not a maker myself, but rather a designer and treasure collector. I wanted to create something that could stand the test of time, something enduring. Jewellery felt like the perfect medium, because it’s forever.\u003C\u002Fp>\n",{"images":11687,"size":56,"_type":57},[11688],{"_id":11689,"url":11690,"alt":18,"caption":18,"credit":18,"width":1242,"height":71},1834,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-6.jpg",{"questions":11692,"_type":45},[11693],{"question":11694,"answer":11695},"\u003Cp>Unlike traditional campaigns, a journal suggests continuity. How does this format allow you to tell stories differently?\u003C\u002Fp>\n","\u003Cp>Exactly, that’s the idea. My collections follow my personal journey, growth, and train of thought; there are no set themes because life itself is the theme. Objects found in markets, dreams, or memories are reimagined in metal, and each drop is a continuation of the last.\u003Cbr \u002F>\nThe journal format also allows us to tell the stories of our muses. There’s no standard approach; it varies with each person and what they want to share. Sometimes it’s a poem, sometimes it’s capturing her in a place that’s dear to her, simply doing her thing.\u003C\u002Fp>\n",{"variant":1116,"images":11697,"_type":73},[11698,11700],{"_id":1414,"url":11699,"alt":18,"caption":18,"credit":18,"width":1242,"height":71},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-6.jpg",{"_id":6396,"url":11701,"alt":18,"caption":18,"credit":18,"width":1242,"height":71},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-6.jpg",{"questions":11703,"_type":45},[11704],{"question":11705,"answer":11706},"\u003Cp>Why is it important for you to root the making in Naples?\u003C\u002Fp>\n","\u003Cp>As I mentioned, I haven’t lived in Naples for long, and I know it’s not the place I want to settle. But that sense of disconnection I’ve felt since childhood is something I wanted to address creatively. My family is still there, and now, whenever I go back, we work on the pieces together. It’s been a lot of fun and a meaningful way to bond.\u003Cbr \u002F>\nAnother reason is that Naples is booming with tourists, yet many don’t realise the city has an incredible heritage in jewellery and leather craftsmanship. These crafts are fading because they’re time-consuming and people often choose cheaper alternatives, but I believe it’s essential not to let them be forgotten.\u003C\u002Fp>\n",{"first":11708,"second":11711,"third":11714,"variant":94,"_type":206},{"_id":11709,"url":11710,"alt":18,"caption":18,"credit":18,"width":5735,"height":1813},1837,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-5.jpg",{"_id":11712,"url":11713,"alt":18,"caption":18,"credit":18,"width":5735,"height":1813},1838,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-5.jpg",{"_id":11715,"url":11716,"alt":18,"caption":18,"credit":18,"width":5735,"height":1813},1839,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-5.jpg",{"questions":11718,"_type":45},[11719],{"question":11720,"answer":11721},"\u003Cp>You draw from heirlooms and everyday objects. What’s the most unexpected source of inspiration that has influenced a design?\u003C\u002Fp>\n","\u003Cp>One of my favourite pieces was inspired by a psychedelic mushroom that my boyfriend harvested on our balcony. Once dried in the oven, it already looked like a jewel.\u003Cbr \u002F>\nAnother unexpected source was an antique brass weight scale, the kind fruit vendors still use, or keep as decoration, in small shops around Naples.\u003C\u002Fp>\n",{"variant":1116,"images":11723,"_type":73},[11724,11727],{"_id":11725,"url":11726,"alt":18,"caption":18,"credit":18,"width":5735,"height":987},1840,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-5.jpg",{"_id":11728,"url":11729,"alt":18,"caption":18,"credit":18,"width":5735,"height":987},1841,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-3.jpg",{"questions":11731,"_type":45},[11732],{"question":11733,"answer":11734},"\u003Cp>What do you think makes a muse, not just someone who wears the pieces, but someone who embodies the stories you want to tell?\u003C\u002Fp>\n","\u003Cp>For me, muses are pioneers of a movement that doesn’t yet exist, their own movement. They have a personal style that isn’t influenced by the masses, and there’s something in their expression, a detail in their face or presence, that makes them truly unique.\u003C\u002Fp>\n",{"images":11736,"size":84,"_type":57},[11737],{"_id":11738,"url":11739,"alt":18,"caption":18,"credit":18,"width":5304,"height":987},1842,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-3.jpg",{"questions":11741,"_type":45},[11742],{"question":11743,"answer":11744},"\u003Cp>What role do natural forms play in your work?\u003C\u002Fp>\n","\u003Cp>I’m a hiker and a nature lover, and spending time outdoors is where my inspiration unlocks. Rock textures, earthy tones, streams of water, moss, stars—they all find their way into my work, blending with objects to create pieces that aren’t fully abstract but carry a subtle, organic essence.\u003C\u002Fp>\n",{"images":11746,"size":56,"_type":57},[11747],{"_id":11748,"url":11749,"alt":18,"caption":18,"credit":18,"width":5304,"height":987},1843,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-2.jpg",{"questions":11751,"_type":45},[11752],{"question":11753,"answer":11754},"\u003Cp>If GIUNIA were to expand beyond metal and leather, what object If we were to expand beyond metal and leather?\u003C\u002Fp>\n","\u003Cp>I’d be most curious to explore homeware and furniture. It would allow me to work directly with my sources of inspiration: wood, stone, and natural materials.\u003Cbr \u002F>\nI’ve also discovered that I love curating experiences, because music and connection are such important parts of my work and persona.\u003C\u002Fp>\n",{"images":11756,"size":56,"_type":57},[11757],{"_id":11758,"url":11759,"alt":18,"caption":18,"credit":18,"width":5304,"height":357},1844,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-1.jpg",{"questions":11761,"_type":45},[11762],{"question":638,"answer":11763},"\u003Cp>I started online, but I quickly realised I thrive on connecting with people in real life. In Amsterdam, I often meet customers through DM for private appointments, and I love bringing the brand to life through pop-ups. There’s one (in Amsterdam) to be announced in late October to try on and pre-order the new drop, and another is planned for December. For daily updates, behind-the-scenes glimpses, and all things GIUNIA, @giunia.journal on Instagram is the place to be!\u003C\u002Fp>\n",{"_type":6,"_id":11765,"slug":11766,"name":11767,"index":11768,"date":11769,"thumbnails":11770,"description":18,"footerImage":11777,"categories":11780,"sections":11782},1846,"hanna-anonen","Hanna Anonen",93,"2025-09-29",{"quote":11771,"main":11772,"secondary":11776,"reverse":24},"\u003Cp>“It’s amazing to imagine pieces in your mind, go through the process, and then one day see them become real…”\u003C\u002Fp>\n",{"image":11773,"background":21,"fit":22},{"_id":4096,"url":11774,"alt":18,"caption":18,"credit":18,"width":5304,"height":11775},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-7.jpg",1289,{"image":24,"background":21,"fit":22},{"_id":11778,"url":11779,"alt":18,"caption":18,"credit":18,"width":5304,"height":357},1848,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-7.jpg",[11781],{"_id":33,"slug":34,"name":35},[11783,11787,11791,11796,11801,11805,11810,11819,11824,11829,11834,11838,11843,11847,11852,11860,11865,11871],{"questions":11784,"_type":45},[11785],{"question":1766,"answer":11786},"\u003Cp>Heyy I’m Hanna Anonen designer from Finland and I’m based in New York and Helsinki.\u003C\u002Fp>\n",{"questions":11788,"_type":45},[11789],{"question":3060,"answer":11790},"\u003Cp>I work on projects that range in scale from decorative objects to 5meter exhibition design structures. Every project and every day is different.\u003Cbr \u002F>\nWorking as a freelancer is the best like that.\u003C\u002Fp>\n",{"images":11792,"size":56,"_type":57},[11793],{"_id":11794,"url":11795,"alt":18,"caption":18,"credit":18,"width":5304,"height":11775},1850,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-7.jpg",{"questions":11797,"_type":45},[11798],{"question":11799,"answer":11800},"\u003Cp>What drew you to the world of design?\u003C\u002Fp>\n","\u003Cp>Curiosity. It’s amazing to imagine pieces in your mind, give them scale and material, go through the process, and then one day see them become real.\u003Cbr \u002F>\nOne summer I was obsessed with wheel silver paint so I had to have something to paint with it and just did it and then could move on.\u003C\u002Fp>\n",{"images":11802,"size":84,"_type":57},[11803],{"_id":3799,"url":11804,"alt":18,"caption":18,"credit":18,"width":5304,"height":357},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-7.jpg",{"questions":11806,"_type":45},[11807],{"question":11808,"answer":11809},"\u003Cp>Do you think boldness is becoming the new minimalism in Nordic design?\u003C\u002Fp>\n","\u003Cp>I think there’s room for both styles. It’s a good sign that there’s space for something more diverse. Hopefully it encourages thinking in many ways and across different fields as well.\u003C\u002Fp>\n",{"variant":176,"images":11811,"_type":73},[11812,11815],{"_id":11813,"url":11814,"alt":18,"caption":18,"credit":18,"width":3004,"height":11775},1851,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-7.jpg",{"_id":11816,"url":11817,"alt":18,"caption":18,"credit":18,"width":11818,"height":1265},1852,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-7.jpg",1319,{"questions":11820,"_type":45},[11821],{"question":11822,"answer":11823},"\u003Cp>Doodle revealed sketches and unfinished ideas as final works. What did exploring the “messy” side of creativity unlock for you?\u003C\u002Fp>\n","\u003Cp>It was such fun! It showed me that things don’t have to be so serious, clean, or finished. And I had only one\u003C\u002Fp>\n",{"images":11825,"size":84,"_type":57},[11826],{"_id":11827,"url":11828,"alt":18,"caption":18,"credit":18,"width":11818,"height":3151},1853,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-7.jpg",{"questions":11830,"_type":45},[11831],{"question":11832,"answer":11833},"\u003Cp>How much of your designs are about your control as a designer versus the freedom you give to users?\u003C\u002Fp>\n","\u003Cp>I give full freedom, and I don’t want to control how people use them as long as they’re durable. I’ve heard that my wooden boxes have been used as makeup boxes, bread boxes, and even pet urns. I think that’s the beauty of it. Objects can take on the life you give them in use.\u003C\u002Fp>\n",{"images":11835,"size":84,"_type":57},[11836],{"_id":2928,"url":11837,"alt":18,"caption":18,"credit":18,"width":4127,"height":3490},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-6.jpg",{"questions":11839,"_type":45},[11840],{"question":11841,"answer":11842},"\u003Cp>Many of your pieces sit between art and design. Do you see function and expression as equal, or does one always lead for you?\u003C\u002Fp>\n","\u003Cp>My background is a designer, I’ve learned to think that an object has to have some kind of function. The challenge is combining nice function and beauty in one piece and doing it well. I’m still wondering why cleaning tools look the way they do, you know…\u003C\u002Fp>\n",{"images":11844,"size":56,"_type":57},[11845],{"_id":6501,"url":11846,"alt":18,"caption":18,"credit":18,"width":10008,"height":3490},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-6.jpg",{"questions":11848,"_type":45},[11849],{"question":11850,"answer":11851},"\u003Cp>Is there a piece or collection that challenged you in any unexpected ways?\u003C\u002Fp>\n","\u003Cp>With the Doodle collections, the magician surprised even herself. The starting point was very loose, and I reflected on things I had already done but never shown or talked about. I wanted to work like that more openly and with this collection I used different processes. I will try it again at some point.\u003C\u002Fp>\n",{"variant":1179,"images":11853,"_type":73},[11854,11858],{"_id":11855,"url":11856,"alt":18,"caption":18,"credit":18,"width":10008,"height":11857},1856,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-6.jpg",564,{"_id":2677,"url":11859,"alt":18,"caption":18,"credit":18,"width":10008,"height":11857},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-6.jpg",{"questions":11861,"_type":45},[11862],{"question":11863,"answer":11864},"\u003Cp>If you could create without any constraints, what kind of project would you imagine?\u003C\u002Fp>\n","\u003Cp>I would create a village somewhere and design all the pretty things there.\u003C\u002Fp>\n",{"images":11866,"size":84,"_type":57},[11867],{"_id":11868,"url":11869,"alt":18,"caption":18,"credit":18,"width":4429,"height":11870},1858,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-4.jpg",698,{"questions":11872,"_type":45},[11873],{"question":638,"answer":11874},"\u003Cp>I always reply if someone contacts me, no matter the reason. Feel free to slide into my DMs on \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fhannaanonen\u002F?g=5\">Instagram\u003C\u002Fa> or email me at moi@hannaanonen. When I have something new, I update my website: \u003Ca href=\"http:\u002F\u002Fwww.hannaanonen.com\">www.hannaanonen.com\u003C\u002Fa>.\u003C\u002Fp>\n\u003Cp>Soon, a new exhibition will open with the Design and Architecture Museum in Helsinki and I designed the exhibition architecture. The exhibition is about Tove Jansson’s life through architecture, and design, and how these have inspired her in the Moomin stories. That theme is very close to my heart because I find a lot of inspiration in everyday life and my surroundings. 😉\u003C\u002Fp>\n",{"_type":6,"_id":2706,"slug":11876,"name":11877,"index":11878,"date":11879,"thumbnails":11880,"description":18,"footerImage":11887,"categories":11890,"sections":11892},"jax-partlow","Jax Partlow",94,"2025-10-01",{"quote":11881,"main":11882,"secondary":11886,"reverse":24},"\u003Cp>“I found someone a little outside the city to teach me and I was hooked…”\u003C\u002Fp>\n",{"image":11883,"background":137,"fit":22},{"_id":11884,"url":11885,"alt":18,"caption":18,"credit":18,"width":1550,"height":4517},2847,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F94-head-2.jpg",{"image":24,"background":21,"fit":22},{"_id":11888,"url":11889,"alt":18,"caption":18,"credit":18,"width":5005,"height":566},1866,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-8.jpg",[11891],{"_id":127,"slug":146,"name":147},[11893,11897,11901,11906,11911,11916,11921,11929,11934,11938,11943,11948,11953,11959,11964,11968,11973,11978],{"questions":11894,"_type":45},[11895],{"question":1766,"answer":11896},"\u003Cp>My name is Jax, I’m from Los Angeles and I live in Mexico City.\u003C\u002Fp>\n",{"questions":11898,"_type":45},[11899],{"question":3060,"answer":11900},"\u003Cp>My practice with glass is basically using a thousand year old technique to play, create shape and imagery as if I am painting.\u003C\u002Fp>\n",{"images":11902,"size":56,"_type":57},[11903],{"_id":11904,"url":11905,"alt":18,"caption":18,"credit":18,"width":5818,"height":2868},1863,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-8.jpg",{"questions":11907,"_type":45},[11908],{"question":11909,"answer":11910},"\u003Cp>Can you tell me about the first time you worked with glass tools and the moment you knew this medium was going to stay with you?\u003C\u002Fp>\n","\u003Cp>I was looking for something I could make with my hands and had an epiphany about working with glass when I was living in Budapest. I found someone a little outside the city to teach me and I was hooked.\u003C\u002Fp>\n",{"images":11912,"size":56,"_type":57},[11913],{"_id":11914,"url":11915,"alt":18,"caption":18,"credit":18,"width":717,"height":4004},1868,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-7.jpg",{"questions":11917,"_type":45},[11918],{"question":11919,"answer":11920},"\u003Cp>You inherited your late father’s tools and began working with them, do you feel like your practice allows you to deepen that connection with him?\u003C\u002Fp>\n","\u003Cp>Absolutely, in a way it’s been an antidote to grief. Though he didn’t teach me, a piece of him is in everything I make. Working with glass has brought me closer to celebrating and farther from mourning.\u003C\u002Fp>\n",{"variant":1116,"images":11922,"_type":73},[11923,11926],{"_id":11924,"url":11925,"alt":18,"caption":18,"credit":18,"width":5818,"height":2214},1864,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-8.jpg",{"_id":11927,"url":11928,"alt":18,"caption":18,"credit":18,"width":5818,"height":2214},1865,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-8.jpg",{"questions":11930,"_type":45},[11931],{"question":11932,"answer":11933},"\u003Cp>Coming from a background in graphic design, what aspects of this still shapes the way you approach stained glass?\u003C\u002Fp>\n","\u003Cp>As much as I’d like to think I view the world as an artist, I view it as a designer tenfold over that. The principles used in graphic design are the backbone to any process or way of thinking that has developed in my practice.\u003C\u002Fp>\n",{"images":11935,"size":84,"_type":57},[11936],{"_id":10501,"url":11937,"alt":18,"caption":18,"credit":18,"width":4924,"height":573},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-7.jpg",{"questions":11939,"_type":45},[11940],{"question":11941,"answer":11942},"\u003Cp>Stained glass comes with deep historical and spiritual roots, do you choose to engage with these traditions in your own work?\u003C\u002Fp>\n","\u003Cp>Hmmm other than appreciation and respect I would say they are separate. However I always hope the work brings magic to a space.\u003C\u002Fp>\n",{"images":11944,"size":56,"_type":57},[11945],{"_id":11946,"url":11947,"alt":18,"caption":18,"credit":18,"width":10639,"height":4429},1870,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-7.jpg",{"questions":11949,"_type":45},[11950],{"question":11951,"answer":11952},"\u003Cp>What do you look for in an “unlikely space” when choosing where to install a piece for your Public Piece Project?\u003C\u002Fp>\n","\u003Cp>I look for contrast, thoughtful light and accessibility. Ultimately I make art for myself, so I usually put them where I pass by.\u003C\u002Fp>\n",{"images":11954,"size":84,"_type":57},[11955],{"_id":11956,"url":11957,"alt":18,"caption":18,"credit":18,"width":5042,"height":11958},1871,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-7.jpg",701,{"questions":11960,"_type":45},[11961],{"question":11962,"answer":11963},"\u003Cp>Has living and working in different countries shifted the way you think about aspects of your work?\u003C\u002Fp>\n","\u003Cp>I think greatly, travel and the desire to live outside my home country has been a theme that has run through my life. I’ve been exposed to many ways of living, people and stories. It’s hard to explain the ways I carry them with me in everything I do, especially when it can be so abstract.\u003C\u002Fp>\n",{"images":11965,"size":56,"_type":57},[11966],{"_id":3865,"url":11967,"alt":18,"caption":18,"credit":18,"width":2149,"height":4513},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-5.jpg",{"questions":11969,"_type":45},[11970],{"question":11971,"answer":11972},"\u003Cp>Is there a location where you’d love to see one of your pieces installed next?\u003C\u002Fp>\n","\u003Cp>I need one in Budapest, where my glass story began and where the idea for this project was conceived. It’ll happen one day.\u003C\u002Fp>\n",{"images":11974,"size":84,"_type":57},[11975],{"_id":11976,"url":11977,"alt":18,"caption":18,"credit":18,"width":6525,"height":2715},1873,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-4.jpg",{"questions":11979,"_type":45},[11980],{"question":638,"answer":11981},"\u003Cp>People can find me mostly on instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fjaxpartlow\u002F\">@jaxpartlow\u003C\u002Fa>. I’m looking to share some work in October during design week here in Mexico City. I’ll share more about that soon.\u003C\u002Fp>\n\u003Cp>I have a few public pieces still live in Los Angeles, one on the 110\u002F101 freeway junction (it’s seen better days) and two at Fountain\u002FEdgemont in East Hollywood. But there is always a new public piece brewing… stay tuned…\u003C\u002Fp>\n",{"_type":6,"_id":8642,"slug":11983,"name":11984,"index":11985,"date":11986,"thumbnails":11987,"description":18,"footerImage":11994,"categories":11997,"sections":11999},"sumayah-fallatah","Sumayah Fallatah",95,"2025-10-08",{"quote":11988,"main":11989,"secondary":11993,"reverse":24},"\u003Cp>“To have the ability to talk about the past, present, and future without feeling out of place…”\u003C\u002Fp>\n",{"image":11990,"background":21,"fit":56},{"_id":4972,"url":11991,"alt":18,"caption":18,"credit":18,"width":11992,"height":3331},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-9.jpg",597,{"image":24,"background":21,"fit":22},{"_id":11995,"url":11996,"alt":18,"caption":18,"credit":18,"width":11992,"height":2715},1877,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-9.jpg",[11998],{"_id":127,"slug":146,"name":147},[12000,12004,12008,12014,12019,12024,12029,12038,12043,12048,12053,12059,12064,12069,12074,12079,12084,12092],{"questions":12001,"_type":45},[12002],{"question":1766,"answer":12003},"\u003Cp>My name is Sumayah Fallatah, and I’m currently based in London.\u003C\u002Fp>\n",{"questions":12005,"_type":45},[12006],{"question":3060,"answer":12007},"\u003Cp>Memories, layers, and reflections.\u003C\u002Fp>\n",{"images":12009,"size":84,"_type":57},[12010],{"_id":12011,"url":12012,"alt":18,"caption":18,"credit":18,"width":11992,"height":12013},1878,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-9.jpg",336,{"questions":12015,"_type":45},[12016],{"question":12017,"answer":12018},"\u003Cp>Growing up with Saudi and Nigerian heritage, when did you start exploring your identity and belonging through art?\u003C\u002Fp>\n","\u003Cp>I started exploring through experimental self-portraits in 2021, then it turned into a major project through Sai Mun Dawo II.\u003C\u002Fp>\n",{"images":12020,"size":56,"_type":57},[12021],{"_id":12022,"url":12023,"alt":18,"caption":18,"credit":18,"width":5629,"height":3689},1879,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-9.jpg",{"questions":12025,"_type":45},[12026],{"question":12027,"answer":12028},"\u003Cp>Your practice reflects on the African diaspora within the Arab world. What do you feel is still missing from that conversation?\u003C\u002Fp>\n","\u003Cp>I want us to be able to have conversions comfortably within the community. To have the ability to talk about the past, present, and future without feeling out of place.\u003C\u002Fp>\n",{"variant":1179,"images":12030,"_type":73},[12031,12035],{"_id":12032,"url":12033,"alt":18,"caption":18,"credit":18,"width":2024,"height":12034},1880,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-9.jpg",571,{"_id":12036,"url":12037,"alt":18,"caption":18,"credit":18,"width":2024,"height":12034},1881,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-9.jpg",{"questions":12039,"_type":45},[12040],{"question":12041,"answer":12042},"\u003Cp>Many of your works involve different layers, such as video, collage, textiles, music and more. Do you think of these as a metaphor?\u003C\u002Fp>\n","\u003Cp>Yes, I always say that there’s so much for me to learn and explore about my culture – as I don’t have it all set in one place. And with every project I work on it feels like I’m working with layers of knowledge, memories, stories and facts.\u003C\u002Fp>\n",{"images":12044,"size":84,"_type":57},[12045],{"_id":12046,"url":12047,"alt":18,"caption":18,"credit":18,"width":3075,"height":12034},1882,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-9.jpg",{"questions":12049,"_type":45},[12050],{"question":12051,"answer":12052},"\u003Cp>Your piece Fruits of Meditation was inspired by your father’s ritual to disconnect from the outside world. What was this ritual and do you feel like you’ve adopted your own way of disconnecting?\u003C\u002Fp>\n","\u003Cp>The ritual was my father sitting in the living room every morning, closing his eyes, and saying names of fruits, while doing squeezing motions with his hands, and my siblings and I would sit behind him and copy him.\u003C\u002Fp>\n",{"images":12054,"size":7031,"_type":57},[12055],{"_id":12056,"url":12057,"alt":18,"caption":18,"credit":18,"width":7473,"height":12058},1883,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-8.jpg",410,{"questions":12060,"_type":45},[12061],{"question":12062,"answer":12063},"\u003Cp>Do you feel like you’ve adopted your own way of disconnecting?\u003C\u002Fp>\n","\u003Cp>Yes, and I feel like I started thinking of it from my father’s perspective after sitting with him to talk about ways of disconnecting for this project.\u003C\u002Fp>\n",{"images":12065,"size":7031,"_type":57},[12066],{"_id":12067,"url":12068,"alt":18,"caption":18,"credit":18,"width":7473,"height":12058},1884,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-8.jpg",{"questions":12070,"_type":45},[12071],{"question":12072,"answer":12073},"\u003Cp>Say Mon Dawo II is a series of self-portraits constructed with collected fabrics where you revisit your Hausa\u002FFulani identity. How did this project feel to create?\u003C\u002Fp>\n","\u003Cp>Sai Mun Dawo — although spelt incorrectly at the time of making it — means “until we return” referencing my desire to visit Nigeria, to reconnect, and learn more about the cultural fragments I carry. I enjoyed connecting the things I grew up with and learnt as an adult. Although it was challenging to portray them in portraits the process felt tender and intimate. Half of the photos in the series were shot a week after my grandmother’s funeral, using her fabrics, which my aunts handed down to me. That was the most intense period of making the project.\u003C\u002Fp>\n",{"images":12075,"size":56,"_type":57},[12076],{"_id":12077,"url":12078,"alt":18,"caption":18,"credit":18,"width":334,"height":4127},1885,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-8.jpg",{"questions":12080,"_type":45},[12081],{"question":12082,"answer":12083},"\u003Cp>Is there something you’re especially interested in exploring next in your practice?\u003C\u002Fp>\n","\u003Cp>There are a few themes I want to explore, but I’ll keep them a secret for now 🙂\u003C\u002Fp>\n",{"variant":1179,"images":12085,"_type":73},[12086,12089],{"_id":12087,"url":12088,"alt":18,"caption":18,"credit":18,"width":5816,"height":1227},1886,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-8.jpg",{"_id":12090,"url":12091,"alt":18,"caption":18,"credit":18,"width":5816,"height":1227},1887,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-6.jpg",{"questions":12093,"_type":45},[12094],{"question":638,"answer":12095},"\u003Cp>They can find me on my instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fsum088\u002F?g=5\">@sum088\u003C\u002Fa> — I post my progress with projects, fun stuff, and sometimes even thoughts. And my work will be part of the upcoming Lagos Photo Biennale. 🙂\u003C\u002Fp>\n",{"_type":6,"_id":12097,"slug":12098,"name":12099,"index":12100,"date":12101,"thumbnails":12102,"description":18,"footerImage":12109,"categories":12112,"sections":12114},1889,"haya-morowa","Haya Morowa",96,"2025-10-11",{"quote":12103,"main":12104,"secondary":12108,"reverse":24},"\u003Cp>“it’s about carrying the care of craft into today’s practice, giving the past a voice…”\u003C\u002Fp>\n",{"image":12105,"background":21,"fit":22},{"_id":12106,"url":12107,"alt":18,"caption":18,"credit":18,"width":293,"height":3505},1890,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-10.jpg",{"image":24,"background":21,"fit":22},{"_id":12110,"url":12111,"alt":18,"caption":18,"credit":18,"width":293,"height":1227},1891,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-10.jpg",[12113],{"_id":644,"slug":1883,"name":1884},[12115,12119,12123,12127,12132,12137,12142,12147,12152,12157,12162,12167,12172,12180,12185,12190,12195,12203,12211,12216,12221],{"questions":12116,"_type":45},[12117],{"question":1766,"answer":12118},"\u003Cp>My name is Haya Morowa, I am Lebanese based in London.\u003C\u002Fp>\n",{"questions":12120,"_type":45},[12121],{"question":3060,"answer":12122},"\u003Cp>Tactile, Spacial, Speculative\u003C\u002Fp>\n",{"images":12124,"size":56,"_type":57},[12125],{"_id":7052,"url":12126,"alt":18,"caption":18,"credit":18,"width":293,"height":3505},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-10.jpg",{"questions":12128,"_type":45},[12129],{"question":12130,"answer":12131},"\u003Cp>You describe your practice as combining traditional craft with digital tools, what\u003Cbr \u002F>\nfirst drew you to this?\u003C\u002Fp>\n","\u003Cp>Architecture, which I studied and currently practice, relies heavily on digital tools. The\u003Cbr \u002F>\nprocess can no longer be entirely hand-drawn or handmade; software and fabrication technologies have become inseparable from how projects are conceived and realised. As John Pawson would say ‘all we needed to show was a plan’, whereas today a client expects a full set of drawings, renders, and visualisations.. The project comes alive before it’s even Built.\u003C\u002Fp>\n\u003Cp>I find this both exciting and challenging. I’m drawn to raw, crafted, physical objects & spaces, forms & qualities that can’t always be conveyed through software, but I also see how digital tools expand what’s possible and keep pace with change. Among my works sitting at that intersection, a conversation between tradition and contemporary tools, are A Demolition by Stealth (2019) and From Bread to Building (2022).\u003C\u002Fp>\n",{"images":12133,"size":84,"_type":57},[12134],{"_id":12135,"url":12136,"alt":18,"caption":18,"credit":18,"width":293,"height":3505},1893,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-10.jpg",{"questions":12138,"_type":45},[12139],{"question":12140,"answer":12141},"\u003Cp>Your projects often begin with material research, how do you get to know a\u003Cbr \u002F>\nmaterial before deciding how to work with it?\u003C\u002Fp>\n","\u003Cp>I’ve always been intrigued by the potential of materials and how a single substance can take on so many forms. My explorations have ranged from food to wood, concrete, metals, plaster, wax, ceramics and more. Yet, I return most often to light, delicate materials like paper and straw, which, interestingly, can even be transformed into one another. Their lightness lends itself to gentler ways of making, processes that respect both nature and the maker.\u003Cbr \u002F>\nOnce I’ve chosen a material I feel intuitively connected to, I experiment with it in workshops, factories, construction sites to learn its limits and strengths. I just play with it really.. The material most often sets the parameters of the project, but I try to keep an open mind and ask myself: how else could I work with it, or see it differently? The work begins there, in that space between what a material is, and what it might yet become.\u003C\u002Fp>\n",{"images":12143,"size":84,"_type":57},[12144],{"_id":12145,"url":12146,"alt":18,"caption":18,"credit":18,"width":2557,"height":5370},1894,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-10.jpg",{"questions":12148,"_type":45},[12149],{"question":12150,"answer":12151},"\u003Cp>In A Demolition by Stealth, you literally unbuilt architecture to build with paper,\u003Cbr \u002F>\nwhat did that project teach you?\u003C\u002Fp>\n","\u003Cp>It taught me that a material can hold both its undoing and its rebirth. By transforming the warehouse’s wood into paper, the project uncovered the subtle potential of change. It brought me closer to the idea of impermanence, questioning whether architecture must outlive us, or if heritage and meaning can also be found in unmaking and remaking, rather than in monuments built to last forever. In that process, I came to see transience as intrinsic to a building’s value.\u003C\u002Fp>\n",{"images":12153,"size":84,"_type":57},[12154],{"_id":12155,"url":12156,"alt":18,"caption":18,"credit":18,"width":2557,"height":5370},1895,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-10.jpg",{"questions":12158,"_type":45},[12159],{"question":12160,"answer":12161},"\u003Cp>When you bring traditional craft into dialogue with digital fabrication, what kind of new voice are you trying to give the past?\u003C\u002Fp>\n","\u003Cp>Traditional craft often carried an inherent sustainability: working with local materials,\u003Cbr \u002F>\nlow-energy methods, and an instinctive understanding of how things could be made to last or be repaired. Much of that sensibility has been overshadowed by today’s fast-paced construction culture, which prizes speed and efficiency over craft and patience. I see digital tools as a way to recover some of that, not by recreating the past, but by translating its know-how into modern contexts. Digital fabrication allows us to reimagine methods of making and scale what was once only possible by hand, but only if done with intention. For me, it’s about carrying the care of craft into today’s practice, giving the past a voice that feels grounded in heritage yet alive in the present.\u003C\u002Fp>\n",{"images":12163,"size":84,"_type":57},[12164],{"_id":12165,"url":12166,"alt":18,"caption":18,"credit":18,"width":2557,"height":5370},1896,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-10.jpg",{"questions":12168,"_type":45},[12169],{"question":12170,"answer":12171},"\u003Cp>You founded Pulp as a nomadic social club for creatives, what conversations or\u003Cbr \u002F>\ncollaborations has it sparked?\u003C\u002Fp>\n","\u003Cp>Before answering this, I’d like to explain a little about what brought Pulp to life. The name itself is a small nod to my obsession with paper, a material that’s shaped much of my practice.\u003Cbr \u002F>\nI’ve always seen a home as a patchwork of design decisions that quietly shape how we live.\u003Cbr \u002F>\nSomeone designed your couch, your table, even the spoon you eat with.. Some company designed your TV.. Someone else farmed the tomato that sits in your fridge.. yet you probably don’t know any of these people. Pulp has emerged from that same observation, creating a space where those makers, designers, and specialists step out of the background and connect with each other, and with us, in a shared experience, rather than showcasing their objects or products as static displays.\u003Cbr \u002F>\nFrom that starting point, it has already sparked collaborations: fashion designers meeting architects to imagine a lamp, brand owners working with food stylists, object designers and culinary specialists exploring how vessels and rituals transform the way we experience food.\u003Cbr \u002F>\nIt’s about seeing how easily these worlds connect when given the space and direction.\u003Cbr \u002F>\nCross-disciplinary work seems to be the way forward. Boundaries between fields are\u003Cbr \u002F>\ndissolving, and collaboration is where new ideas take shape. Pulp simply gives that exchange a home.\u003C\u002Fp>\n",{"variant":1116,"images":12173,"_type":73},[12174,12177],{"_id":12175,"url":12176,"alt":18,"caption":18,"credit":18,"width":4699,"height":5370},1897,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-9.jpg",{"_id":12178,"url":12179,"alt":18,"caption":18,"credit":18,"width":4699,"height":5370},1898,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-9.jpg",{"questions":12181,"_type":45},[12182],{"question":12183,"answer":12184},"\u003Cp>If you could collaborate with a craftsperson or artisan anywhere in the world, who\u003Cbr \u002F>\nwould it be and why?\u003C\u002Fp>\n","\u003Cp>It would be Eriko Horiki in Japan. She isn’t a traditional artisan, but an artist and designer based in Kyoto who works closely with washi papermakers from regions like Echizen. I’ve always been drawn to paper for its delicacy and overlooked strength, and she transforms it into immersive spaces that bridge tradition with new possibilities in design.\u003C\u002Fp>\n",{"images":12186,"size":56,"_type":57},[12187],{"_id":12188,"url":12189,"alt":18,"caption":18,"credit":18,"width":4699,"height":948},1899,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-9.jpg",{"questions":12191,"_type":45},[12192],{"question":12193,"answer":12194},"\u003Cp>When creating visuals for music projects like Afterz, how do you translate sound\u003Cbr \u002F>\ninto a visual language?\u003C\u002Fp>\n","\u003Cp>I’ve always had this thing where I naturally translate sound, numbers, letters, and spaces into colours. It’s hard to explain, but sometimes a colour combination unlocks a memory of a\u003Cbr \u002F>\nplace from my childhood. Or if I try to remember a number, I’ll recall it as a colour — for\u003Cbr \u002F>\nexample, 4 is always pink, 2 is yellow, and so on. I didn’t know it had a name until a friend\u003Cbr \u002F>\ntold me it was called Synesthesia. From there, the process feels intuitive: a sound triggers a feeling, a feeling becomes a colour, and a colour suggests a space. The final outcome doesn’t always retain that palette, but synesthetic colour often shapes the earliest stages of my work. I experiment and listen on repeat until the image I design feels aligned with the song that Declan and Troy (of Afterz) have spent hours producing. Working with Afterz has been very collaborative, we have long conversations whenever they commission me for an album cover. They understand my abstract way of thinking, which is usually all over the place until it all comes together.\u003C\u002Fp>\n",{"variant":1116,"images":12196,"_type":73},[12197,12200],{"_id":12198,"url":12199,"alt":18,"caption":18,"credit":18,"width":4699,"height":4699},1900,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-9.jpg",{"_id":12201,"url":12202,"alt":18,"caption":18,"credit":18,"width":4699,"height":4699},1901,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-7.jpg",{"variant":1116,"images":12204,"_type":73},[12205,12208],{"_id":12206,"url":12207,"alt":18,"caption":18,"credit":18,"width":4699,"height":4699},1902,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-5.jpg",{"_id":12209,"url":12210,"alt":18,"caption":18,"credit":18,"width":4699,"height":4699},1903,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-3.jpg",{"questions":12212,"_type":45},[12213],{"question":12214,"answer":12215},"\u003Cp>What’s something in your daily life that has nothing to do with your practice but\u003Cbr \u002F>\nfeels essential to who you are?\u003C\u002Fp>\n","\u003Cp>My day begins with dates, I just can’t help it! I split and fill them carefully, almost like a small act of craft. It connects me to where I come from and remains the simplest, most satisfying pleasure. It hits every time.\u003Cbr \u002F>\nAnd every Sunday I go to yoga with my partner Aly. Sometimes it’s more than once a week, but that one class always feels essential to me, it resets my pace for the days ahead. It’s intense with flowing, continuous movements, chanting and music. I always leave happy, energised and at peace. It’s my weekly reset and I carry into my daily life through patience,\u003Cbr \u002F>\nsimple breathing & stretching exercises, especially when I’m overwhelmed.\u003C\u002Fp>\n",{"images":12217,"size":84,"_type":57},[12218],{"_id":12219,"url":12220,"alt":18,"caption":18,"credit":18,"width":2557,"height":350},1904,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-2.jpg",{"questions":12222,"_type":45},[12223],{"question":638,"answer":12224},"\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fhayamorowa\u002F?g=5\"> @hayamorowa\u003C\u002Fa>\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fpulpmoves\u002F\">@pulpmoves\u003C\u002Fa>\u003Cbr \u002F>\nPULP Edition II | October 25, 2025 — a collaboration with sommeliers, architects\u003Cbr \u002F>\n& chefs. Follow \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fpulpmoves\u002F\">@pulpmoves\u003C\u002Fa> for RSVP details.\u003C\u002Fp>\n",{"_type":6,"_id":12226,"slug":12227,"name":12228,"index":12229,"date":12230,"thumbnails":12231,"description":18,"footerImage":12238,"categories":12242,"sections":12244},1908,"lourdes-centarti","Lourdes Centarti",97,"2025-10-13",{"quote":12232,"main":12233,"secondary":12237,"reverse":24},"\u003Cp>“I then understood what he saw in that continuity, something that was not drawn.”\u003C\u002Fp>\n",{"image":12234,"background":21,"fit":22},{"_id":12235,"url":12236,"alt":18,"caption":18,"credit":18,"width":19,"height":19},2735,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-10-1a.jpg",{"image":24,"background":21,"fit":22},{"_id":12239,"url":12240,"alt":18,"caption":18,"credit":18,"width":12241,"height":1790},1909,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-11-scaled.jpg",1957,[12243],{"_id":127,"slug":146,"name":147},[12245,12249,12253,12259,12264,12271,12276,12283,12288,12295,12300,12306,12311,12317,12322,12328,12333,12338],{"questions":12246,"_type":45},[12247],{"question":1766,"answer":12248},"\u003Cp>My name is Lourdes Centarti. I was born in Venado Tuerto, a small city placed in Santa Fe, Argentina. I’m currently based in Buenos Aires, although I live somewhat nomadically, and I like to move around.\u003C\u002Fp>\n",{"questions":12250,"_type":45},[12251],{"question":3060,"answer":12252},"\u003Cp>Through the repetition of stitches, I create patterns in which I seek and imagine new ways of thinking about volumes and textures, thus redefining my concepts of how corporeality can manifest or be.\u003C\u002Fp>\n",{"images":12254,"size":84,"_type":57},[12255],{"_id":12256,"url":12257,"alt":18,"caption":18,"credit":18,"width":12258,"height":8881},1911,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-11.jpg",2222,{"questions":12260,"_type":45},[12261],{"question":12262,"answer":12263},"\u003Cp>Can you tell us about what first interested you in fashion design?\u003C\u002Fp>\n","\u003Cp>A pair of wooden clogs my mother bought me when I was 4\u002F5 years old. I still remember how it felt to wear them—I loved using them to be outside and play on the grass. I believe that was the moment when I first began to develop an interest in clothing in general.\u003C\u002Fp>\n",{"images":12265,"size":56,"_type":57},[12266],{"_id":12267,"url":12268,"alt":18,"caption":18,"credit":18,"width":12269,"height":12270},1912,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-11.jpg",1913,2423,{"questions":12272,"_type":45},[12273],{"question":12274,"answer":12275},"\u003Cp>A trip to Italy became a turning point in your practice. What did this trip initially represent for you, and how did it reshape your creative path?\u003C\u002Fp>\n","\u003Cp>My trip to Italy was, at first, a personal search for my paternal roots. In that state of introspection, while waiting for legal matters to be resolved, everything revolved around my grandfather. It was because of him that I was there, and remembering him always brought back his typical joke: he would draw a house and a tree without lifting the pen from the paper, then ask, “Where is the person?” and, always laughing, answer, “peeing behind the tree.”\u003Cbr \u002F>\nI then understood what he saw in that continuity, something that was not drawn. That became the turning point in my practice: with a rope on my table, I began to imitate his game, trying to get closer to him, curving the thread without ever cutting it. In this way, a pattern—always new and different—was born with each fold, allowing me to also imagine what is implicit.\u003C\u002Fp>\n",{"variant":1116,"images":12277,"_type":73},[12278,12280],{"_id":12269,"url":12279,"alt":18,"caption":18,"credit":18,"width":12269,"height":12269},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-11.jpg",{"_id":12281,"url":12282,"alt":18,"caption":18,"credit":18,"width":12269,"height":12269},1914,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-11.jpg",{"questions":12284,"_type":45},[12285],{"question":12286,"answer":12287},"\u003Cp>Memory seems deeply integrated in your practice. Do you see your work as a way of archiving your personal histories?\u003C\u002Fp>\n","\u003Cp>Absolutely. It is biographical, although I don’t feel the work truly belongs to me—I think of it as an entity that generates itself, I see myself as a channel for it, and I am very sensitive; everything I create comes from a deeply emotional place. My story and the work are built side by side, in a reciprocal practice.\u003C\u002Fp>\n",{"variant":1116,"images":12289,"_type":73},[12290,12292],{"_id":2370,"url":12291,"alt":18,"caption":18,"credit":18,"width":9260,"height":12269},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-11.jpg",{"_id":12293,"url":12294,"alt":18,"caption":18,"credit":18,"width":9260,"height":12269},1916,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-10.jpg",{"questions":12296,"_type":45},[12297],{"question":12298,"answer":12299},"\u003Cp>Why rope?\u003C\u002Fp>\n","\u003Cp>I was in another country without my fabrics and with a strong urge to materialize something with my hands. I went to a supermarket and, in the bazaar section, I found some ropes and took them with me—at first with the intention of crocheting them. I didn’t know that this material would end up being life-changing.\u003C\u002Fp>\n",{"images":12301,"size":56,"_type":57},[12302],{"_id":12303,"url":12304,"alt":18,"caption":18,"credit":18,"width":12258,"height":12305},2630,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-11-edit.jpg",2299,{"questions":12307,"_type":45},[12308],{"question":12309,"answer":12310},"\u003Cp>Repetition is central in your work. What does this mean for you?\u003C\u002Fp>\n","\u003Cp>For me, repetition is linked to obsession. I believe that focusing my attention on the same repeated movement is a way of going deeper, of finding within a single concept all its branches—making it bigger, nurturing it, and watching it grow.\u003C\u002Fp>\n",{"images":12312,"size":56,"_type":57},[12313],{"_id":12314,"url":12315,"alt":18,"caption":18,"credit":18,"width":4718,"height":12316},1918,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-10.jpg",2014,{"questions":12318,"_type":45},[12319],{"question":12320,"answer":12321},"\u003Cp>In your practice, joining without cutting becomes a metaphor. What is something in your own life you would never want to “cut” even though at some point you would’ve wanted to?\u003C\u002Fp>\n","\u003Cp>The artisanal. My hands need to be part of my practice, and I need them to be present, even though the anxious pace of modernity has often tried to convince me it isn’t worth it. Yet, when I finish a piece, I value every second I invested in it.\u003C\u002Fp>\n",{"images":12323,"size":56,"_type":57},[12324],{"_id":12325,"url":12326,"alt":18,"caption":18,"credit":18,"width":12327,"height":8232},1919,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-10.jpg",2088,{"questions":12329,"_type":45},[12330],{"question":12331,"answer":12332},"\u003Cp>Is the body, once the center of your work and studies, still your main canvas or has your focus shifted?\u003C\u002Fp>\n","\u003Cp>Today my focus is on the pattern, and how within it different corporealities emerge from stitches and tensions that create volumes and structures. The body remains the center, but now I don’t just want to modify it, I also want to explore the spaces from which it can emerge.\u003C\u002Fp>\n",{"images":12334,"size":56,"_type":57},[12335],{"_id":2167,"url":12336,"alt":18,"caption":18,"credit":18,"width":10819,"height":12337},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-8.jpg",2155,{"questions":12339,"_type":45},[12340],{"question":638,"answer":12341},"\u003Cp>You can find me on Instagram as @lourd333s or @lourdescentarti, for projects, collaborations, or purchases. I am currently part of the @proyectoperezrodriguez catalog, where I held my latest exhibition in Paris. There you can also see and acquire my pieces.\u003C\u002Fp>\n",{"_type":6,"_id":12343,"slug":12344,"name":12345,"index":12346,"date":12347,"thumbnails":12348,"description":18,"footerImage":12355,"categories":12358,"sections":12360},1922,"gaspard-fleury-dugy","Gaspard Fleury-Dugy",98,"2025-10-16",{"quote":12349,"main":12350,"secondary":12354,"reverse":24},"\u003Cp>“there’s an alchemy between material and technique — and my role is to find the perfect dialogue between the two…”\u003C\u002Fp>\n",{"image":12351,"background":21,"fit":22},{"_id":12352,"url":12353,"alt":18,"caption":18,"credit":18,"width":155,"height":155},2861,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FGASPARD.jpg",{"image":24,"background":21,"fit":22},{"_id":12356,"url":12357,"alt":18,"caption":18,"credit":18,"width":8532,"height":9986},1924,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-12.jpg",[12359],{"_id":33,"slug":34,"name":35},[12361,12365,12369,12374,12379,12386,12391,12396,12401,12406,12411,12416,12421,12426,12431,12436,12441,12447,12452,12457,12462,12467,12471],{"questions":12362,"_type":45},[12363],{"question":1171,"answer":12364},"\u003Cp>My name is Gaspard Fleury-Dugy, and I’m based in Paris.\u003C\u002Fp>\n",{"questions":12366,"_type":45},[12367],{"question":2426,"answer":12368},"\u003Cp>I’m a textile and object designer, passionate about textile techniques and what I call textile thinking — a way of using the logic of textiles to shape new forms and materials.\u003C\u002Fp>\n",{"images":12370,"size":56,"_type":57},[12371],{"_id":12372,"url":12373,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1925,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-12.jpg",{"questions":12375,"_type":45},[12376],{"question":12377,"answer":12378},"\u003Cp>What came first in your practice, the 3D objects or the knitting?\u003C\u002Fp>\n","\u003Cp>Knitting! I first discovered the incredible potential of knitting for creating volume. Once I mastered the technique, I became curious about how it could move beyond fashion — how knitting could build. By experimenting with this idea of form emerging directly from the knitting machine, I started designing objects to show how we can construct with textiles and give them a new materiality.\u003C\u002Fp>\n",{"variant":1116,"images":12380,"_type":73},[12381,12384],{"_id":12382,"url":12383,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1926,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-12.jpg",{"_id":6462,"url":12385,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-12.jpg",{"questions":12387,"_type":45},[12388],{"question":12389,"answer":12390},"\u003Cp>What inspired you to explore knitting as a way to build shapes?\u003C\u002Fp>\n","\u003Cp>I began by observing techniques used in fashion to give garments shape and volume. Then I pushed them further — I radicalized them — to create large, sculptural forms. The technique was already there; I simply amplified its possibilities.\u003C\u002Fp>\n",{"images":12392,"size":56,"_type":57},[12393],{"_id":12394,"url":12395,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1928,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-12.jpg",{"questions":12397,"_type":45},[12398],{"question":12399,"answer":12400},"\u003Cp>You say you “work with the machine, not against it.” Can you describe the first time you realized the machine had something to say back to you?\u003C\u002Fp>\n","\u003Cp>That moment came while I was experimenting to create more volume. I was trying to reproduce a material I’d seen, but no matter what I did, the result was terrible — full of holes, completely off. Instead of giving up, I decided to change the yarn completely, just to see what would happen. I picked up the first spool I found — without realizing it was elastic. The result came out beautifully, even better than I expected. That day I understood that there’s an alchemy between material and technique — and my role is to find the perfect dialogue between the two.\u003C\u002Fp>\n",{"images":12402,"size":56,"_type":57},[12403],{"_id":12404,"url":12405,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1929,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-12.jpg",{"questions":12407,"_type":45},[12408],{"question":12409,"answer":12410},"\u003Cp>What does “textile thinking” mean when applied to object making? Does it apply to life outside your work too?\u003C\u002Fp>\n","\u003Cp>For me, textile thinking means designing with the mindset and knowledge of the textile world — pattern, rhythm, color, and the joy of experimentation. It’s about constantly sampling, daring, and playing. When applied to objects, it allows me to rethink structure and surface. For example, the bumps visible on some of my pieces are inspired by the heel technique used in sock knitting. I like transferring such methods from fashion to object design, transforming a functional textile detail into a structural and decorative element.\u003C\u002Fp>\n",{"images":12412,"size":56,"_type":57},[12413],{"_id":12414,"url":12415,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1930,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-11.jpg",{"questions":12417,"_type":45},[12418],{"question":12419,"answer":12420},"\u003Cp>You translate forms from VR into code for a knitting machine. How does designing in the digital world change the way you see the physical world?\u003C\u002Fp>\n","\u003Cp>The main difference is being free from gravity — everything stands up effortlessly in the digital world! Translating those virtual forms into knitted shapes can be tricky for exactly that reason. But I love to defy gravity — maybe because I’m also a trapeze artist. I take inspiration from the acrobat’s mindset: always testing, daring, and leaping into the\u003Cbr \u002F>\nunknown. The circus is a big reference for me — even in my bold color choices, echoing the big top.\u003C\u002Fp>\n",{"images":12422,"size":56,"_type":57},[12423],{"_id":12424,"url":12425,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1931,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-11.jpg",{"questions":12427,"_type":45},[12428],{"question":12429,"answer":12430},"\u003Cp>You mention the frustration of being reduced to “a textile designer.” How do you imagine breaking these material-based boundaries?\u003C\u002Fp>\n","\u003Cp>It’s a challenge, but also an exciting one. Textile is increasingly recognized in contemporary design and exhibitions, yet it still carries limits in people’s minds. Through my work, I want to show that textile thinking can expand into any field — unlocking new potentials in how we build and perceive materials.\u003C\u002Fp>\n",{"images":12432,"size":84,"_type":57},[12433],{"_id":12434,"url":12435,"alt":18,"caption":18,"credit":18,"width":5754,"height":9986},1932,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-11.jpg",{"questions":12437,"_type":45},[12438],{"question":12439,"answer":12440},"\u003Cp>What’s the most unexpected object or form that came from your experiments — something you didn’t plan but loved?\u003C\u002Fp>\n","\u003Cp>I once worked on knitted tableware — plates and bowls. The shapes were beautiful, but of course, no one wants to eat from a knitted plate! For me, knitting is like drawing — an act of pure exploration. Just because a drawing is made on paper doesn’t mean the final object must be in paper. Similarly, a knitted form can be the starting point for something else — for instance, I later translated that knitted plate shape into clay.\u003C\u002Fp>\n",{"images":12442,"size":84,"_type":57},[12443],{"_id":12444,"url":12445,"alt":18,"caption":18,"credit":18,"width":12446,"height":9986},1933,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-11.jpg",2234,{"questions":12448,"_type":45},[12449],{"question":12450,"answer":12451},"\u003Cp>Many of your shapes feel playful, unexpected, even surreal. Where do these forms come from — nature, memory, or imagination?\u003C\u002Fp>\n","\u003Cp>They often begin with architecture — but I love to combine contrasting references. Some shapes echo seaweed, fish, or, more recently, butterfly wings. These organic inspirations mix with the vivid colors of sportswear or the pixelated glitches of digital screens. That tension between natural and artificial is what excites me most.\u003C\u002Fp>\n",{"images":12453,"size":84,"_type":57},[12454],{"_id":12455,"url":12456,"alt":18,"caption":18,"credit":18,"width":12446,"height":9986},1934,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-9.jpg",{"questions":12458,"_type":45},[12459],{"question":12460,"answer":12461},"\u003Cp>What does your studio sound like while you work — silence, music, or the rhythm of the machine?\u003C\u002Fp>\n","\u003Cp>It depends on the phase. When I’m reflecting, I often listen to music. When I’m programming, I need silence. And when I’m knitting — it’s all about the rhythm of the machine. Its sounds tell me everything: if it’s going well, or if something’s off.\u003C\u002Fp>\n",{"questions":12463,"_type":45},[12464],{"question":12465,"answer":12466},"\u003Cp>How does stepping away from your work — walking, traveling, being outside — feed back into your ideas?\u003C\u002Fp>\n","\u003Cp>Traveling constantly refreshes my sense of shape and color. For example, in Mexico I was struck by the fearless use of color — so bold and confident. It made me rethink my own palette. I’m also deeply inspired by architecture, and I always make time to visit buildings wherever I travel.\u003C\u002Fp>\n",{"images":12468,"size":56,"_type":57},[12469],{"_id":1463,"url":12470,"alt":18,"caption":18,"credit":18,"width":12446,"height":9986},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-6.jpg",{"questions":12472,"_type":45},[12473],{"question":638,"answer":12474},"\u003Cp>You can find me on Instagram: @gaspard.fleury.dugy.\u003C\u002Fp>\n",{"_type":6,"_id":12476,"slug":12477,"name":12478,"index":12479,"date":12480,"thumbnails":12481,"description":18,"footerImage":12488,"categories":12492,"sections":12494},1937,"rune-sonneville","Rune Sonneville",99,"2025-10-19",{"quote":12482,"main":12483,"secondary":12487,"reverse":24},"\u003Cp>“images became a language for the inner landscapes I wanted to express…”\u003C\u002Fp>\n",{"image":12484,"background":21,"fit":56},{"_id":12485,"url":12486,"alt":18,"caption":18,"credit":18,"width":12446,"height":9986},1938,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-13.jpg",{"image":24,"background":21,"fit":22},{"_id":12489,"url":12490,"alt":18,"caption":18,"credit":18,"width":12491,"height":9986},1939,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-13.jpg",1134,[12493],{"_id":1739,"slug":7913,"name":7914},[12495,12499,12503,12507,12512,12517,12522,12527,12532,12538,12543,12548,12553,12558,12563,12568,12573,12578,12583,12588,12593,12598],{"questions":12496,"_type":45},[12497],{"question":7062,"answer":12498},"\u003Cp>My name is Rune Sonneville. I’m originally from Belgium, where I grew up surrounded by countryside. I now live in Ibiza, a place that feels like more than my second home. This special island continues to inspire me daily and keeps my creative mind moving.\u003C\u002Fp>\n",{"questions":12500,"_type":45},[12501],{"question":3060,"answer":12502},"\u003Cp>I primarily work in analog photography, guided by both passion and presence. I mostly shoot for myself, for brands, or with other creative people. Its important for me when I take on a job, I need to feel connected to the person or the product, because without that connection the result will always feel incomplete. It is important to me when I take on a job.\u003C\u002Fp>\n",{"images":12504,"size":56,"_type":57},[12505],{"_id":1989,"url":12506,"alt":18,"caption":18,"credit":18,"width":12491,"height":9986},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-13.jpg",{"questions":12508,"_type":45},[12509],{"question":12510,"answer":12511},"\u003Cp>What is your very first memory of holding or using a camera?\u003C\u002Fp>\n","\u003Cp>Since childhood I was searching for ways to capture fragments of my past. But it was after moving to Ibiza that something shifted. Holding a camera suddenly meant something more. It awakened emotions I had never felt so strongly, I now understood that images became a language for the inner landscapes I wanted to express.\u003C\u002Fp>\n",{"images":12513,"size":56,"_type":57},[12514],{"_id":12515,"url":12516,"alt":18,"caption":18,"credit":18,"width":12491,"height":9986},1941,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-13.jpg",{"questions":12518,"_type":45},[12519],{"question":12520,"answer":12521},"\u003Cp>If you could turn a memory into an image to hold on to and look at, what would it be?\u003C\u002Fp>\n","\u003Cp>My childhood. When I still moved through the world with the spirit of an inner child. Summers in Italy with my parents, whole days spent on a boat, or tranquil afternoons with horses in the stables. My life feels almost surreal, so I take photographs to look back on. Today life feels almost unreal. So many times I ask myself: is this really my life? The people, the places, the energy. I wish I could capture every day. I live so fully in the present, the memory I would want to hold is exactly this time of my life, so that when I am older I can remember these young years and feel them all over again.\u003C\u002Fp>\n",{"images":12523,"size":84,"_type":57},[12524],{"_id":12525,"url":12526,"alt":18,"caption":18,"credit":18,"width":12491,"height":9986},1942,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-13.jpg",{"questions":12528,"_type":45},[12529],{"question":12530,"answer":12531},"\u003Cp>You mainly work with film, which only reveals the image once it has been developed. Can you share a moment when a roll came back with something completely unexpected?\u003C\u002Fp>\n","\u003Cp>I once photographed M.P. for a creative fundraising project in support of Ibiza Horse Valley, where I sometimes volunteer. When the film came back, I was astonished. The colors, the atmosphere, the softness,it all felt almost dreamlike. I caught myself thinking: did I really take these?\u003C\u002Fp>\n",{"images":12533,"size":139,"_type":57},[12534],{"_id":12535,"url":12536,"alt":18,"caption":18,"credit":18,"width":12537,"height":9986},1943,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-13.jpg",2331,{"questions":12539,"_type":45},[12540],{"question":12541,"answer":12542},"\u003Cp>What keeps you loyal to film when digital is considered faster and easier?\u003C\u002Fp>\n","\u003Cp>Digital is faster, cheaper, and easier; but film contains time. I found joy in waiting for the rolls to develop, reliving what I shot, and then experiencing the images again all over again it feels almost addictive. Digital encourages endless snapshots without reflection. Film asks you to pause, to choose carefully, to be present. For me, photography is more than taking pictures. It is the time you spend with yourself or with others, the shared experience, and the photograph is only a fragment of it. Film carries memory and nostalgia in a way that no digital device can translate. It keeps you present in the moment.\u003C\u002Fp>\n",{"images":12544,"size":56,"_type":57},[12545],{"_id":12546,"url":12547,"alt":18,"caption":18,"credit":18,"width":5109,"height":9986},1944,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-13.jpg",{"questions":12549,"_type":45},[12550],{"question":12551,"answer":12552},"\u003Cp>Are there certain moments or scenes you find yourself most interested in photographing?\u003C\u002Fp>\n","\u003Cp>Nature always calls me. I often find it when driving across Ibiza in my old car, on the way to meet someone, returning from work, or simply wandering. Many times I am alone. Something stirs in me, I stop, step outside, and capture the moment. That pause, that solitude, is sacred. I take photographs to preserve resonance, the way people, animals, landscapes, and fleeting moments move me from within. There is always a quiet voice saying: keep this. When I release the shutter the urge disappears, and for a moment I feel peace. Every corner of this island feels like a page from a fairytale, even in the rain. There is always magic.\u003C\u002Fp>\n",{"images":12554,"size":56,"_type":57},[12555],{"_id":12556,"url":12557,"alt":18,"caption":18,"credit":18,"width":5109,"height":9986},1945,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-12.jpg",{"questions":12559,"_type":45},[12560],{"question":12561,"answer":12562},"\u003Cp>In your Ibiza series, what drew you to photographing each specific location, and what effect do you hope presenting them as coordinates instead of titles have?\u003C\u002Fp>\n","\u003Cp>The series developed naturally. At first I photographed for myself, without any plan to share it publicly. People often assume living in Ibiza means constant parties, but what fascinates me are the quiet roads, hidden paths, and overlooked landscapes. Tourists often repeat the same party routines and never see this side of the island. I hope the coordinates encourage curiosity, discovery or even small adventures. A title fixes a place, Coordinates invite people to find their own story there.\u003C\u002Fp>\n",{"images":12564,"size":56,"_type":57},[12565],{"_id":12566,"url":12567,"alt":18,"caption":18,"credit":18,"width":5109,"height":9986},1946,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-12.jpg",{"questions":12569,"_type":45},[12570],{"question":12571,"answer":12572},"\u003Cp>What do you think people miss most about Ibiza when they only see it through nightlife and parties?\u003C\u002Fp>\n","\u003Cp>They miss the rocky roads in the north, the layers of pine trees, the barefoot walk to the sea, the cliffs you tackle before jumping into the sea, the taste of fresh fish that is caught on your doorstep. They miss the raw and authentic spirit of the island, the way it once was when people came here to escape reality rather than to bathe in extravagance.\u003C\u002Fp>\n",{"images":12574,"size":56,"_type":57},[12575],{"_id":12576,"url":12577,"alt":18,"caption":18,"credit":18,"width":5109,"height":9986},1947,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-12.jpg",{"questions":12579,"_type":45},[12580],{"question":12581,"answer":12582},"\u003Cp>If someone were to visit one of the coordinates, what do you hope they would notice that goes further than the image?\u003C\u002Fp>\n","\u003Cp>I hope they slow down, stand still, and allow themselves to feel. I hope they notice the space between sounds, the shift of light and air, the atmosphere that can never be captured in a phone image. If they carry that moment inside them, they can close their eyes back home and relive it completely.\u003C\u002Fp>\n",{"images":12584,"size":84,"_type":57},[12585],{"_id":12586,"url":12587,"alt":18,"caption":18,"credit":18,"width":5109,"height":9986},1948,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-12.jpg",{"questions":12589,"_type":45},[12590],{"question":12591,"answer":12592},"\u003Cp>Are there other places you’d like to create a series about to challenge the way people usually see them?\u003C\u002Fp>\n","\u003Cp>Earlier this year I spent three months in Morocco. I believe the country is often judged too quickly from the outside. I want to create an analog series  located there to again show another perspective, one that reveals the beauty, the details, and the humanity often overlooked In Morocco.\u003C\u002Fp>\n",{"images":12594,"size":56,"_type":57},[12595],{"_id":12596,"url":12597,"alt":18,"caption":18,"credit":18,"width":5109,"height":9986},1949,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-10.jpg",{"questions":12599,"_type":45},[12600],{"question":638,"answer":12601},"\u003Cp>I am currently exhibiting at In-Between Gallery in Dalt Vila, Ibiza, with my analog series Untitled Coordinates. More of my work can be seen on the gallery’s artist page at inbetweenibiza.com or on Instagram @rollsbyrune.\u003C\u002Fp>\n",{"_type":6,"_id":7594,"slug":12603,"name":12604,"index":12605,"date":12606,"thumbnails":12607,"description":18,"footerImage":12613,"categories":12616,"sections":12618},"nanajuice","Nanajuice",100,"2025-10-22",{"quote":12608,"main":12609,"secondary":12612,"reverse":24},"\u003Cp>“It’s chaotic, beautiful, and free, just like the way we create…”\u003C\u002Fp>\n",{"image":12610,"background":137,"fit":22},{"_id":12241,"url":12611,"alt":18,"caption":18,"credit":18,"width":4059,"height":4059},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-14.jpg",{"image":24,"background":21,"fit":22},{"_id":12614,"url":12615,"alt":18,"caption":18,"credit":18,"width":5109,"height":6702},1952,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-14.jpg",[12617],{"_id":33,"slug":34,"name":35},[12619,12623,12628,12637,12642,12648,12653,12658,12663,12668,12673,12678,12683,12690],{"questions":12620,"_type":45},[12621],{"question":11341,"answer":12622},"\u003Cp>We’re Giorgia Lupo and Davide Conti, the creatives behind NANAJUICE.\u003Cbr \u002F>\nWe’re both from Rome, Italy, but we’ve spent the last few years moving between cities. We first met while working in Ibiza, and after being abroad for a long time, we’ve now come back to Rome, at least, for now!\u003C\u002Fp>\n",{"questions":12624,"_type":45},[12625],{"question":12626,"answer":12627},"\u003Cp>You describe Nana Juice as being born from instinct, tension, and obsession. How did you both connect over those energies?\u003C\u002Fp>\n","\u003Cp>NANAJUICE was born very spontaneously – it just happened inside us.\u003Cbr \u002F>\nWhen we started, we were living in shared houses, with nothing but a small room and the floor where we made our first pieces.\u003Cbr \u002F>\nIt came from a need to express ourselves, not from a plan.\u003Cbr \u002F>\nwe don’t have any traditional education in jewelry, everything grew through instinct, curiosity, and play.\u003Cbr \u002F>\nIt still feels like something guided by the child inside us, and we’re very protective of that feeling.\u003C\u002Fp>\n",{"variant":1116,"images":12629,"_type":73},[12630,12634],{"_id":12631,"url":12632,"alt":18,"caption":18,"credit":18,"width":12314,"height":12633},2834,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F100-a.jpg",2396,{"_id":12635,"url":12636,"alt":18,"caption":18,"credit":18,"width":4059,"height":6702},1955,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-14.jpg",{"questions":12638,"_type":45},[12639],{"question":12640,"answer":12641},"\u003Cp>Was jewelry always your medium, or did it emerge from something else?\u003C\u002Fp>\n","\u003Cp>Jewelry came to us unexpectedly.\u003Cbr \u002F>\nWe’ve both always been very creative, but in completely different ways, like drawing, building, experimenting.\u003Cbr \u002F>\nWhen NANAJUICE started, it naturally became about jewelry and since then, it’s been our main language , but we’d like to experiment more for sure, exploring how that same energy and vision can exist in other forms.\u003C\u002Fp>\n",{"images":12643,"size":84,"_type":57},[12644],{"_id":12645,"url":12646,"alt":18,"caption":18,"credit":18,"width":12647,"height":4059},1956,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-14.jpg",1368,{"questions":12649,"_type":45},[12650],{"question":12651,"answer":12652},"\u003Cp>You say each piece is a fragment of emotion, “marked by the beauty of imperfection.” What emotions live in your work?\u003C\u002Fp>\n","\u003Cp>There’s a lot of contrast in our pieces, our work often comes from moments when we feel anxiety, love, frustration, but also from more playful or provocative feelings.\u003Cbr \u002F>\nWe’re two very different people, and that contrast always finds its way into what we make, so that each piece carries that duality.\u003Cbr \u002F>\nAnd because everything is handmade, the imperfections become part of the story, they mirror the way real life feels: uneven, but honest.\u003C\u002Fp>\n",{"images":12654,"size":56,"_type":57},[12655],{"_id":12656,"url":12657,"alt":18,"caption":18,"credit":18,"width":1308,"height":5754},2833,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F100-b.jpg",{"questions":12659,"_type":45},[12660],{"question":12661,"answer":12662},"\u003Cp>You mention the energy of punk, surrealism, and nightlife. What part of that world lives in your practice?\u003C\u002Fp>\n","\u003Cp>We feel close to many worlds, punk, surrealism, even hip-hop, all different, but all born from instinct and emotion.\u003Cbr \u002F>\npunk for example, it’s the idea that even if you don’t say things the “right” or “perfect” way, what truly matters is what you have to say.\u003Cbr \u002F>\nNightlife also shaped us: that escape, that intensity, that moment when you can become someone else.\u003Cbr \u002F>\nIt’s chaotic, beautiful, and free, just like the way we create.\u003Cbr \u002F>\nAnd in the end, everything we love , somehow finds its way into our ideas and the pieces we make.\u003C\u002Fp>\n",{"images":12664,"size":56,"_type":57},[12665],{"_id":12666,"url":12667,"alt":18,"caption":18,"credit":18,"width":1787,"height":4059},1959,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-13.jpg",{"questions":12669,"_type":45},[12670],{"question":12671,"answer":12672},"\u003Cp>Your pieces contain so many intricacies, small marks, textures, fragments. Have you both always been drawn to detail?\u003C\u002Fp>\n","\u003Cp>Yes, but not in a technical way.\u003Cbr \u002F>\nWe’ve always been drawn to what feels alive, the marks, the irregularities, the things that make a piece unique.\u003Cbr \u002F>\nIt’s less about perfection and more about character.\u003Cbr \u002F>\nWe love when an object carries traces of time and touch, when it looks like it’s been somewhere before.\u003Cbr \u002F>\nThose details are what make it emotional, they turn metal into something human, especially in a world that is going so minimal.\u003C\u002Fp>\n",{"images":12674,"size":84,"_type":57},[12675],{"_id":12676,"url":12677,"alt":18,"caption":18,"credit":18,"width":4953,"height":3962},1960,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-13.jpg",{"questions":12679,"_type":45},[12680],{"question":12681,"answer":12682},"\u003Cp>Are there recurring details or symbols that hold personal meaning for you, something only you might notice?\u003C\u002Fp>\n","\u003Cp>It really goes in phases, like when a word or an image gets stuck in your head and becomes contagious.\u003Cbr \u002F>\nWe go through small obsessions that slowly shape what we make.\u003Cbr \u002F>\nLately, we’ve been drawn to horses , they keep reappearing in different forms.\u003Cbr \u002F>\nAnd the number 7 has always been a symbol for us, it’s everywhere in the universe, a number that carries its own mystery and balance.\u003C\u002Fp>\n",{"variant":1179,"images":12684,"_type":73},[12685,12687],{"_id":3227,"url":12686,"alt":18,"caption":18,"credit":18,"width":407,"height":3962},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-13.jpg",{"_id":12688,"url":12689,"alt":18,"caption":18,"credit":18,"width":5109,"height":8183},1962,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-15.jpg",{"questions":12691,"_type":45},[12692],{"question":638,"answer":12693},"\u003Cp>You can find us mostly online, through our website nanajuiceshop.com and on Instagram\u003Cbr \u002F>\nWe always share our upcoming events and markets on Instagram @nanajuicestudio, so that’s where people can really stay connected.\u003Cbr \u002F>\nNew drops and collaborations are coming soon, we like to keep things evolving.\u003C\u002Fp>\n",{"_type":6,"_id":12695,"slug":12696,"name":12697,"index":12698,"date":12606,"thumbnails":12699,"description":18,"footerImage":12706,"categories":12709,"sections":12711},1964,"kevin-rouillard","Kevin Rouillard",101,{"quote":12700,"main":12701,"secondary":12705,"reverse":24},"\u003Cp>“I try to create a perceptual space where the gaze moves between appearance and disappearance…”\u003C\u002Fp>\n",{"image":12702,"background":21,"fit":139},{"_id":12703,"url":12704,"alt":18,"caption":18,"credit":18,"width":407,"height":3962},1965,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-16.jpg",{"image":24,"background":21,"fit":22},{"_id":12707,"url":12708,"alt":18,"caption":18,"credit":18,"width":407,"height":3962},1966,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-15.jpg",[12710],{"_id":127,"slug":146,"name":147},[12712,12716,12720,12725,12730,12734,12739,12744,12749,12753,12758,12763,12768,12773,12778,12783,12788,12793,12798],{"questions":12713,"_type":45},[12714],{"question":7062,"answer":12715},"\u003Cp>My name is Kevin Rouillard. I’m from the southwest of France, where I grew up in the Landes. I studied at the Beaux-Arts in Pau and then at the Beaux-Arts in Paris, where I currently live and work.\u003C\u002Fp>\n",{"questions":12717,"_type":45},[12718],{"question":3060,"answer":12719},"\u003Cp>My practice revolves around the transformation of industrial materials, particularly metal drums that I cut, flatten and assemble into pictorial surfaces. These fragments, carrying both material and symbolic histories, become part of a visual language that questions the boundary between painting and sculpture. My work explores notions of wall, protection, circulation and commodity — both personal and collective — while reflecting on gesture, territory and materiality.\u003C\u002Fp>\n",{"images":12721,"size":84,"_type":57},[12722],{"_id":12723,"url":12724,"alt":18,"caption":18,"credit":18,"width":6682,"height":1827},1967,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-15.jpg",{"questions":12726,"_type":45},[12727],{"question":12728,"answer":12729},"\u003Cp>Can you tell us a little about your background and how you arrived at working with color and material?\u003C\u002Fp>\n","\u003Cp>My journey has been gradually built around a formal vocabulary connecting painting, sculpture, and installation. After studying art in France, I developed work focused on raw materials, particularly metal and industrial drums, which I use as supports and painting surfaces. My research has long been centered on light, perception, and color, and I aim to create pieces that offer an immersive experience. Today based in Paris, I have been fortunate to undertake residencies in Mexico, the United States, Portugal, and Senegal, all of which have nourished my practice.\u003C\u002Fp>\n",{"images":12731,"size":56,"_type":57},[12732],{"_id":1789,"url":12733,"alt":18,"caption":18,"credit":18,"width":2278,"height":279},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-15.jpg",{"questions":12735,"_type":45},[12736],{"question":12737,"answer":12738},"\u003Cp>You recently presented a series around the color yellow and the notion of boundaries. Can you elaborate on this cycle?\u003C\u002Fp>\n","\u003Cp>This cycle emerged from a reflection on walls, limits, and passage zones. Yellow functioned as a boundary color, both signaling and political, allowing an exploration of the circulation of bodies and ideas. I developed this work across three successive exhibitions, including *Le Grand Mur* at Palais de Tokyo, forming a kind of triptych.\u003C\u002Fp>\n",{"images":12740,"size":84,"_type":57},[12741],{"_id":12742,"url":12743,"alt":18,"caption":18,"credit":18,"width":3555,"height":1182},1969,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-15.jpg",{"questions":12745,"_type":45},[12746],{"question":12747,"answer":12748},"\u003Cp>How did you arrive at this new series centered on black and Arctic light?\u003C\u002Fp>\n","\u003Cp>This project emerged during a trip to northern Norway, beyond the Arctic Circle. The experience of the *Midnight Sun* – continuous light that disrupts the perception of day and night – profoundly influenced my vision. The black I explore today is not an absence but a luminous material, a density that receives and reveals light differently.\u003C\u002Fp>\n",{"images":12750,"size":56,"_type":57},[12751],{"_id":4402,"url":12752,"alt":18,"caption":18,"credit":18,"width":3555,"height":1182},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-14.jpg",{"questions":12754,"_type":45},[12755],{"question":12756,"answer":12757},"\u003Cp>What do you aim to convey with these black works?\u003C\u002Fp>\n","\u003Cp>I try to create a perceptual space where the gaze moves between appearance and disappearance. The black surfaces absorb, reflect, and transform light depending on the viewer’s position. What I aim to share is this feeling of being surrounded, protected, sometimes unsettled, by a light that never fully reveals itself.\u003C\u002Fp>\n",{"questions":12759,"_type":45},[12760],{"question":12761,"answer":12762},"\u003Cp>The series unfolds between painting and sculpture. How do you articulate these two dimensions?\u003C\u002Fp>\n","\u003Cp>I don’t see them as separate disciplines. My paintings have a sculptural materiality, and my sculptures integrate a pictorial dimension. Drums or metal surfaces become both paintings and volumes. The aim is to create spaces where gaze, material, and light meet.\u003C\u002Fp>\n",{"images":12764,"size":56,"_type":57},[12765],{"_id":12766,"url":12767,"alt":18,"caption":18,"credit":18,"width":293,"height":1182},1971,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-15.jpg",{"questions":12769,"_type":45},[12770],{"question":12771,"answer":12772},"\u003Cp>What role does the viewer’s experience play in your work?\u003C\u002Fp>\n","\u003Cp>It is central. I try to create works that can never be fully apprehended from a single image or point of view. Depending on the position of the body, distance, and lighting, perception constantly changes. This instability is what I seek: an active, shifting, almost performative relationship of the viewer with the work.\u003C\u002Fp>\n",{"images":12774,"size":84,"_type":57},[12775],{"_id":12776,"url":12777,"alt":18,"caption":18,"credit":18,"width":6589,"height":3075},1972,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-14.jpg",{"questions":12779,"_type":45},[12780],{"question":12781,"answer":12782},"\u003Cp>You often mention the question of light. How important is it in your practice?\u003C\u002Fp>\n","\u003Cp>Light is both a material and a subject. It is not just what makes things visible but a substance I work with. In my black works, for example, light becomes the element that activates the surface, creating passages between opacity and transparency.\u003C\u002Fp>\n",{"images":12784,"size":56,"_type":57},[12785],{"_id":12786,"url":12787,"alt":18,"caption":18,"credit":18,"width":156,"height":4459},1973,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-14.jpg",{"questions":12789,"_type":45},[12790],{"question":12791,"answer":12792},"\u003Cp>Are these new pieces a continuation of your previous work with raw repurposed metals, or a new chapter?\u003C\u002Fp>\n","\u003Cp>I see them as a continuation, but one that opens onto a new cycle. Drums have been part of my vocabulary for a long time, and the shift to black marks an intensification of my reflection on perception and light. This project also constitutes a statement that goes beyond the exhibition framework: it affirms a way of considering production itself as a form of total art, almost like a leitmotif running through my entire practice.\u003C\u002Fp>\n",{"images":12794,"size":56,"_type":57},[12795],{"_id":12796,"url":12797,"alt":18,"caption":18,"credit":18,"width":156,"height":3666},1974,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-14.jpg",{"questions":12799,"_type":45},[12800],{"question":638,"answer":12801},"\u003Cp>My work can be seen at Xippas Gallery in Paris, as well as in various exhibitions in France and abroad.\u003C\u002Fp>\n\u003Cp>I am currently working on a project in partnership with Grand Paris Express and Eiffage, focused on creating artworks to accompany the new metro stations. These sculptures will be visible from around 2030 and allow an exploration of how works interact with their environment on a large scale and over the long term, integrating production, site, and public perception.\u003C\u002Fp>\n",{"_type":6,"_id":12803,"slug":12804,"name":12805,"index":12806,"date":12807,"thumbnails":12808,"description":18,"footerImage":12814,"categories":12817,"sections":12819},1976,"amandine-leost","Amandine Leost",102,"2025-10-29",{"quote":12809,"main":12810,"secondary":12813,"reverse":24},"\u003Cp>“I have a nostalgic relationship with this era that I never knew, so it’s as if I were immersing myself in it…”\u003C\u002Fp>\n",{"image":12811,"background":21,"fit":139},{"_id":2471,"url":12812,"alt":18,"caption":18,"credit":18,"width":156,"height":3666},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-17.jpg",{"image":24,"background":21,"fit":22},{"_id":12815,"url":12816,"alt":18,"caption":18,"credit":18,"width":156,"height":3666},1978,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-16.jpg",[12818],{"_id":240,"slug":2416,"name":2417},[12820,12824,12828,12835,12840,12846,12851,12855,12860,12865,12870,12875,12880,12888,12893,12898,12903,12911,12916,12921],{"questions":12821,"_type":45},[12822],{"question":1766,"answer":12823},"\u003Cp>My name is Amandine, I come from Brittany, I grew up there, and now I have been living in Paris\u003C\u002Fp>\n",{"questions":12825,"_type":45},[12826],{"question":3060,"answer":12827},"\u003Cp>I studied at IFM for three years, during which time I completed my final collection last June. Now I am doing an internship in tailoring at Alaia\u003C\u002Fp>\n",{"variant":1116,"images":12829,"_type":73},[12830,12833],{"_id":12831,"url":12832,"alt":18,"caption":18,"credit":18,"width":156,"height":3543},1979,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-16.jpg",{"_id":1832,"url":12834,"alt":18,"caption":18,"credit":18,"width":156,"height":3543},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-16.jpg",{"questions":12836,"_type":45},[12837],{"question":12838,"answer":12839},"\u003Cp>How did your journey into fashion begin?\u003C\u002Fp>\n","\u003Cp>I would say in different ways, because of the environment I grew up in, with a mother, sisters, and grandmothers who always had good taste in terms of textiles, clothing, and patterns. It’s a bit of a cliché, but also the big fashion shows I watched when I was younger.\u003C\u002Fp>\n",{"variant":1179,"images":12841,"_type":73},[12842,12844],{"_id":9008,"url":12843,"alt":18,"caption":18,"credit":18,"width":156,"height":3543},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-15.jpg",{"_id":7571,"url":12845,"alt":18,"caption":18,"credit":18,"width":156,"height":3543},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-16.jpg",{"questions":12847,"_type":45},[12848],{"question":12849,"answer":12850},"\u003Cp>What does the name of your new collection, Pagaille, mean?\u003C\u002Fp>\n","\u003Cp>From a very young age, I was immersed in the world of secondhand items, especially furniture, because my mother has always explored this world. And two years ago, she opened her own boutique\u002Fflea market, which she had dreamed of doing for a long time. It’s a place that has greatly inspired my collection, which features many references to the 60s to 80s, patterns, kitsch, etc. I found that it was a perfect fit and a nice nod to my mother.\u003C\u002Fp>\n",{"images":12852,"size":56,"_type":57},[12853],{"_id":6996,"url":12854,"alt":18,"caption":18,"credit":18,"width":156,"height":6898},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-15.jpg",{"questions":12856,"_type":45},[12857],{"question":12858,"answer":12859},"\u003Cp>You describe Pagaille as being carried by the spirit of the 60s to 80s, with the world of flea markets and grandmothers’ wardrobes. What about these fascinates you?\u003C\u002Fp>\n","\u003Cp>From my point of view, I find something joyful in this mix, in the image I have of it and in its kitsch universe. I have a nostalgic relationship with this era that I never knew, so it’s as if I were immersing myself in it.\u003C\u002Fp>\n",{"images":12861,"size":84,"_type":57},[12862],{"_id":12863,"url":12864,"alt":18,"caption":18,"credit":18,"width":156,"height":7645},1984,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-15.jpg",{"questions":12866,"_type":45},[12867],{"question":12868,"answer":12869},"\u003Cp>How did visual references like Harry Gruyaert, Stephen Shore, and William Wegman shape the color and mood of the collection?\u003C\u002Fp>\n","\u003Cp>Their work influenced me through their unique way of capturing everyday scenes with unexpected color harmonies and a certain spontaneity.\u003Cbr \u002F>\nI wanted to bring that same sense of vivid yet balanced energy into the collection’s mood and palette.\u003C\u002Fp>\n",{"images":12871,"size":56,"_type":57},[12872],{"_id":12873,"url":12874,"alt":18,"caption":18,"credit":18,"width":9605,"height":6572},1985,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-15.jpg",{"questions":12876,"_type":45},[12877],{"question":12878,"answer":12879},"\u003Cp>What kinds of materials or details intrigue you most?\u003C\u002Fp>\n","\u003Cp>I really like worn and fairly raw materials. But I also like delicate things that call on craftsmanship, which is something I’ve brought into my collection, for example through hand-knitted pieces (looks 1 & 3).\u003C\u002Fp>\n",{"variant":1116,"images":12881,"_type":73},[12882,12885],{"_id":12883,"url":12884,"alt":18,"caption":18,"credit":18,"width":5441,"height":11280},1986,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-14.jpg",{"_id":12886,"url":12887,"alt":18,"caption":18,"credit":18,"width":5441,"height":11280},1987,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-11.jpg",{"questions":12889,"_type":45},[12890],{"question":12891,"answer":12892},"\u003Cp>You call the project a “playful and nostalgic exploration of a reinvented past.” What does this mean in your creative process?\u003C\u002Fp>\n","\u003Cp>It comes through in an abstract way in my process — I draw from photographic references from the ’60s, ’80s, and ’90s, letting their forms, colors, patterns, and energy inspire the collection.\u003Cbr \u002F>\nIt’s about creating something new that’s inspired by those past eras.\u003C\u002Fp>\n",{"images":12894,"size":56,"_type":57},[12895],{"_id":12896,"url":12897,"alt":18,"caption":18,"credit":18,"width":5441,"height":357},1988,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-7.jpg",{"questions":12899,"_type":45},[12900],{"question":12901,"answer":12902},"\u003Cp>How did you approach shapes as a design language rather than purely aesthetic value?\u003C\u002Fp>\n","\u003Cp>It came quite naturally, I was inspired in part by vintage furniture, the large, rounded proportions of old sofas and pieces from that era.\u003Cbr \u002F>\nFrom there, it felt obvious to translate those generous shapes into volumes that embrace and define the body.\u003C\u002Fp>\n",{"variant":1116,"images":12904,"_type":73},[12905,12908],{"_id":12906,"url":12907,"alt":18,"caption":18,"credit":18,"width":5441,"height":357},1989,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-4.jpg",{"_id":12909,"url":12910,"alt":18,"caption":18,"credit":18,"width":5441,"height":357},1990,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-3.jpg",{"questions":12912,"_type":45},[12913],{"question":12914,"answer":12915},"\u003Cp>For future collections, are there other themes you would be interested in exploring next?\u003C\u002Fp>\n","\u003Cp>It’s still a bit early to have a precise theme in mind for the next collection.\u003Cbr \u002F>\nHowever, certain elements will always be part of my inspiration — especially the connection to vintage, which is deeply rooted in my work.\u003C\u002Fp>\n",{"images":12917,"size":84,"_type":57},[12918],{"_id":12919,"url":12920,"alt":18,"caption":18,"credit":18,"width":5441,"height":4981},1991,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16-1.jpg",{"questions":12922,"_type":45},[12923],{"question":638,"answer":12924},"\u003Cp>I’m mainly on Instagram, where I share my latest projects and glimpses of my creative process.\u003Cbr \u002F>\nYou can also sometimes find my work in ephemeral events like the recent exhibition at Dover Street Market in Paris last September, alongside other IFM students.\u003C\u002Fp>\n",{"_type":6,"_id":12926,"slug":12927,"name":12928,"index":12929,"date":12930,"thumbnails":12931,"description":18,"footerImage":12938,"categories":12942,"sections":12944},1993,"abeer-aref","Abeer Aref",103,"2025-11-03",{"quote":12932,"main":12933,"secondary":12937,"reverse":24},"\u003Cp>“I want them to reflect on the profound impact of conflict on everyday life and to consider the untold stories these silent witnesses carry within them…”\u003C\u002Fp>\n",{"image":12934,"background":21,"fit":22},{"_id":12935,"url":12936,"alt":18,"caption":18,"credit":18,"width":2084,"height":4981},1994,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-16.jpg",{"image":24,"background":21,"fit":22},{"_id":12939,"url":12940,"alt":18,"caption":18,"credit":18,"width":12941,"height":4981},1995,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-18.jpg",967,[12943],{"_id":1739,"slug":7913,"name":7914},[12945,12949,12953,12958,12963,12968,12973,12978,12983,12988,12993,12997,13002,13007,13012,13017,13022,13027,13032,13037,13042,13047],{"questions":12946,"_type":45},[12947],{"question":11668,"answer":12948},"\u003Cp>Hi, my name is Abeer Aref, a visual artist from Yemen.\u003C\u002Fp>\n",{"questions":12950,"_type":45},[12951],{"question":1904,"answer":12952},"\u003Cp>In my work, I focus on creating visual narratives. These narratives delve into themes of identity, memory, and the often-overlooked beauty of everyday moments surrounding us.\u003C\u002Fp>\n",{"images":12954,"size":84,"_type":57},[12955],{"_id":12956,"url":12957,"alt":18,"caption":18,"credit":18,"width":1035,"height":990},1996,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-17.jpg",{"questions":12959,"_type":45},[12960],{"question":12961,"answer":12962},"\u003Cp>How did your relationship with photography begin? Was there a moment or feeling that sparked it?\u003C\u002Fp>\n","\u003Cp>My journey with photography began during my university studies, initially as a way to cope with academic pressures and to find enjoyment. It served as a creative outlet. Over time, it transformed into a means of documenting my surroundings. One pivotal moment occurred when I captured light and shadow fleetingly highlighting an object, which made me realize the power of light and perspective in storytelling.\u003C\u002Fp>\n",{"images":12964,"size":56,"_type":57},[12965],{"_id":12966,"url":12967,"alt":18,"caption":18,"credit":18,"width":1035,"height":6352},1997,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-17.jpg",{"questions":12969,"_type":45},[12970],{"question":12971,"answer":12972},"\u003Cp>Your images often highlight the small, overlooked elements of a scene. Footsteps, cracks in the ground, a fleeting shadow. What draws your eye in a moment?\u003C\u002Fp>\n","\u003Cp>When I observe a scene, my eye is consistently drawn to the subtleties within it, such as the texture of a wall or the intricate patterns of shadows. These seemingly small, overlooked elements captivate me because they possess the power to reveal untold stories and evoke emotions that resonate deeply.\u003C\u002Fp>\n",{"images":12974,"size":84,"_type":57},[12975],{"_id":12976,"url":12977,"alt":18,"caption":18,"credit":18,"width":4459,"height":6352},1998,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-16.jpg",{"questions":12979,"_type":45},[12980],{"question":12981,"answer":12982},"\u003Cp>What was the first photo you ever took that felt meaningful to you?\u003C\u002Fp>\n","\u003Cp>The very first photograph I ever took that felt truly meaningful to me was a double-exposure photo titled “Longing,” which is part of my project “Home as a Container.” This image was created to capture my feelings during a period of separation in my childhood from my mother, and through the double exposure, I aimed to convey both my emotions and hers within a single frame.\u003C\u002Fp>\n",{"images":12984,"size":56,"_type":57},[12985],{"_id":12986,"url":12987,"alt":18,"caption":18,"credit":18,"width":5109,"height":9760},1999,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-17.jpg",{"questions":12989,"_type":45},[12990],{"question":12991,"answer":12992},"\u003Cp>In “In My Nights, Jasmine Blooms”, you speak of jasmine as a symbol for fleeting freedom. What does freedom mean to you and why is it ‘fleeting’?\u003C\u002Fp>\n","\u003Cp>In “In My Nights, Jasmine Blooms,” the jasmine acts as a poignant symbol of fleeting freedom. For me, freedom is the ability to express oneself without barriers. It’s the uninhibited space where one can simply exist and be.\u003Cbr \u002F>\nHowever, this freedom feels fleeting because life’s circumstances often impose limitations, making those moments of true liberation rare and precious. This project, born from the stark contrast between the safety and liberty of night walks in Amman and the constraints of my homeland, captures these transient moments. Just as the night-blooming jasmine blossoms under the cover of darkness, mirroring the temporary nature of this freedom, so too does the hope for a future where freedom and belonging are not elusive illusions.\u003Cbr \u002F>\nThrough the interplay of vibrant nocturnal scenes and personal reflections on identity, memory, and the yearning for a true home, the black and white photographs in “In My Nights, Jasmine Blooms” evoke a sense of nostalgia and longing. The intentional blurriness further emphasizes the transient nature of memory and these fleeting moments of liberation. As the night ends and the jasmine season fades, this temporary sense of freedom also recedes, echoing the cyclical nature of displacement and the continuous search for a place to truly belong.\u003C\u002Fp>\n",{"images":12994,"size":84,"_type":57},[12995],{"_id":888,"url":12996,"alt":18,"caption":18,"credit":18,"width":2172,"height":4170},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FCOVER-1-1.jpg",{"questions":12998,"_type":45},[12999],{"question":13000,"answer":13001},"\u003Cp>What does the sea represent to you, and how did that evolve when working on Made of Salt and Air?”\u003C\u002Fp>\n","\u003Cp>For me, the sea in Aden is intrinsically linked to memory; the smell of its salty air is a strong indicator that I am nearing the city. This visceral connection led me to name my ongoing project “Made of Salt and Air.”\u003Cbr \u002F>\nThe sea itself represents a powerful duality: both tranquility and turmoil. When working on “Made of Salt and Air,” this evolved significantly. It became a profound metaphor for the complexities of life and the emotional tides we navigate.\u003Cbr \u002F>\nThrough this project, I aim to capture the coastal landscapes of Aden, especially in light of the city’s recent political, social, and environmental changes. The images seek to convey the resilience and enduring connection between the people of Aden and the sea.  I strive to evoke a deep sense of belonging and harmony shaped by Aden’s history. It’s about capturing moments where people are immersed in their environment, patiently awaiting the perfect convergence of elements that bring forth feelings of sadness, joy, and connection by the water’s edge.\u003C\u002Fp>\n",{"images":13003,"size":56,"_type":57},[13004],{"_id":13005,"url":13006,"alt":18,"caption":18,"credit":18,"width":5109,"height":948},2001,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-16.jpg",{"questions":13008,"_type":45},[13009],{"question":13010,"answer":13011},"\u003Cp>What does So Far Away, Yet So Close explore?\u003C\u002Fp>\n","\u003Cp>So Far Away, Yet So Close” delves into the paradox of distance in relationships. It explores how we can experience a deep emotional connection even when physically apart, highlighting the intricate nuances of longing and the persistence of connection.\u003Cbr \u002F>\nThis project evolved as a personal response to the ongoing war in Yemen and the COVID-19 pandemic, events that intensified feelings of longing and homesickness as my family members became scattered across the globe. In this work, I’ve used captured moments and conversations as a tool for memory, a way to bridge the physical gap with loved ones. Despite the distance, the warmth and beauty found in everyday moments serve as a constant reaffirmation of the enduring love we share.\u003C\u002Fp>\n",{"images":13013,"size":84,"_type":57},[13014],{"_id":13015,"url":13016,"alt":18,"caption":18,"credit":18,"width":1081,"height":4851},2002,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-16.jpg",{"questions":13018,"_type":45},[13019],{"question":13020,"answer":13021},"\u003Cp>How would you define Home?\u003C\u002Fp>\n","\u003Cp>Home, for me, transcends the idea of a mere physical space. It’s fundamentally a feeling of belonging and safety. This sense of security is deeply enriched and defined by the memories created within its embrace and the invaluable connections shared with loved ones who are part of it.\u003C\u002Fp>\n",{"images":13023,"size":56,"_type":57},[13024],{"_id":13025,"url":13026,"alt":18,"caption":18,"credit":18,"width":6559,"height":4851},2003,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-16.jpg",{"questions":13028,"_type":45},[13029],{"question":13030,"answer":13031},"\u003Cp>In JAMAAD, you place inanimate objects at the center of the story. What do you hope viewers understand or feel when they encounter these silent witnesses to conflict?\u003C\u002Fp>\n","\u003Cp>In JAMAAD, I intentionally place inanimate objects at the center of the story because they are the silent witnesses to conflict. When people outside of Yemen consider the war, their focus is often on the human toll, overlooking the everyday structures that endure and observe the pain, hear the suffering, and yet are physically mutilated, scarred, and damaged by the war’s effects themselves.\u003Cbr \u002F>\nThese objects, if they had a voice, would speak volumes. This parallels the situation in Yemen; often, the voices from within the country remain unheard in the West. These objects pose a similar question: What do they need to do for their voices to be heard?\u003Cbr \u002F>\nWhile some parts of the country may have been spared from direct airstrikes, the aftermath of conflict lingers, and its visual scars are ever-present. This raises a crucial question: How are we supposed to move on when we confront these reminders every single day?\u003Cbr \u002F>\nThrough JAMAAD, I hope viewers come to see these objects not just as inanimate things, but as vessels of memory. I want them to reflect on the profound impact of conflict on everyday life and to consider the untold stories these silent witnesses carry within them.\u003C\u002Fp>\n",{"images":13033,"size":84,"_type":57},[13034],{"_id":13035,"url":13036,"alt":18,"caption":18,"credit":18,"width":6559,"height":4851},2004,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-15.jpg",{"questions":13038,"_type":45},[13039],{"question":13040,"answer":13041},"\u003Cp>Which body of work taught you something new about yourself?\u003C\u002Fp>\n","\u003Cp>Working on “In My Nights, Jasmine Blooms” taught me about vulnerability and the importance of embracing my emotions in my art.\u003C\u002Fp>\n",{"images":13043,"size":56,"_type":57},[13044],{"_id":13045,"url":13046,"alt":18,"caption":18,"credit":18,"width":3801,"height":6500},2005,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-12.jpg",{"questions":13048,"_type":45},[13049],{"question":638,"answer":13050},"\u003Cp>Currently, I am in Amman, participating in an Artist Residency at the MMAG Foundation.\u003Cbr \u002F>\nOnline: You can find me on Instagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fabeeraref\u002F?g=5\">@abeeraref\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":8879,"slug":13052,"name":13053,"index":13054,"date":13055,"thumbnails":13056,"description":18,"footerImage":13063,"categories":13066,"sections":13068},"six-dots","Six Dots",104,"2025-11-06",{"quote":13057,"main":13058,"secondary":13062,"reverse":24},"\u003Cp>“I’m not trying to invent anything new … I’m just trying to make work that nourishes my soul and hopefully nourishes the souls of others too…”\u003C\u002Fp>\n",{"image":13059,"background":21,"fit":56},{"_id":13060,"url":13061,"alt":18,"caption":18,"credit":18,"width":3386,"height":1787},2010,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-18.jpg",{"image":24,"background":21,"fit":22},{"_id":13064,"url":13065,"alt":18,"caption":18,"credit":18,"width":8573,"height":4548},2011,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-19.jpg",[13067],{"_id":33,"slug":34,"name":35},[13069,13073,13077,13081,13086,13090,13095,13103,13108,13116,13121,13126,13131,13136,13141,13146,13151,13156,13161,13166],{"questions":13070,"_type":45},[13071],{"question":1766,"answer":13072},"\u003Cp>My name is Joe Ellwood, and I’m based in London, originally from just outside the city.\u003C\u002Fp>\n",{"questions":13074,"_type":45},[13075],{"question":3060,"answer":13076},"\u003Cp>I’m still trying to work that out really, but I make furniture and objects primarily in aluminium. I run Six Dots Design, a studio based in East London. We’ve had people say our work looks like Fred Flintstone, Tim Burton, or Dalí, but I really just try to make what feels right rather than subscribe to a rigid idea of what my practice is or can be.\u003C\u002Fp>\n",{"images":13078,"size":84,"_type":57},[13079],{"_id":6959,"url":13080,"alt":18,"caption":18,"credit":18,"width":3386,"height":1787},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-18.jpg",{"questions":13082,"_type":45},[13083],{"question":13084,"answer":13085},"\u003Cp>How did Six Dots come to life?\u003C\u002Fp>\n","\u003Cp>I’ve been making, drawing, and designing my entire life. I got my first saw when I was four. Art, making, and designing have always been a complete safe space for me; it’s what I do when I’m happy, when I’m sad, when I’m lost, and when I have purpose. It really is such a constant love in my life.\u003C\u002Fp>\n\u003Cp>I’ve also always wanted to run my own business and sell what I make. When I was 14, during the London Olympic Games, I sold knock-off Olympic teddy bears near my hometown – only to be briskly stopped by an off-duty trading standards officer – so I suppose I always had some entrepreneurial spirit.\u003C\u002Fp>\n\u003Cp>Six Dots felt like the natural extension of a complete love for art and making, combined with an excitement to sell the pieces I was creating and a determination to make it my livelihood. I set up Six Dots as soon as I finished my undergraduate degree, but it took a few years to take the shape it has now.\u003C\u002Fp>\n",{"images":13087,"size":84,"_type":57},[13088],{"_id":3077,"url":13089,"alt":18,"caption":18,"credit":18,"width":821,"height":823},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-17.jpg",{"questions":13091,"_type":45},[13092],{"question":13093,"answer":13094},"\u003Cp>You founded Six Dots during lockdown. Did this context influence your desire to design for the home environment?\u003C\u002Fp>\n","\u003Cp>In all honesty, I don’t think it did. I’d been making home objects, desks, and other bits and pieces before lockdown, and I was labouring on building sites for most of the pandemic, so I don’t think I felt the same re-attachment to home that a lot of people did. I worked on-site for a cabinet maker and architect for a while, and he taught me a lot about classic furniture design — that was a big inspiration.\u003C\u002Fp>\n",{"variant":1116,"images":13096,"_type":73},[13097,13100],{"_id":12316,"url":13098,"alt":18,"caption":18,"credit":18,"width":13099,"height":1787},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-17.jpg",552,{"_id":13101,"url":13102,"alt":18,"caption":18,"credit":18,"width":13099,"height":1787},2015,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-18.jpg",{"questions":13104,"_type":45},[13105],{"question":13106,"answer":13107},"\u003Cp>Coming from architectural studies, what ideas or concepts have found their way into your objects?\u003C\u002Fp>\n","\u003Cp>I think sometimes I find it easier to rebel against things than get behind them. I use a lot of the technical skills I learnt studying architecture every day to prep drawings or CAD files, but in terms of the design education I had, I feel differently.\u003Cbr \u002F>\nI was studying at a time when we spent three years learning about Le Corbusier and that was about it – it was very rigid, very modernist, and very boring. My final year of undergraduate study was in 2020, so not only was the pandemic happening, but so was the George Floyd movement, which inspired a group of my classmates to set up a program aimed at decolonising architectural education. That was really inspiring because it opened my eyes to the fact that what we’d been taught was not the be-all and end-all; there were other styles and types of practice out there that were valid. So I think architecture gave me some good foundations, but my work really progressed when I found the energy to rebel against it.\u003C\u002Fp>\n",{"variant":1116,"images":13109,"_type":73},[13110,13113],{"_id":13111,"url":13112,"alt":18,"caption":18,"credit":18,"width":13099,"height":1787},2017,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-17.jpg",{"_id":13114,"url":13115,"alt":18,"caption":18,"credit":18,"width":13099,"height":1787},2018,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-17.jpg",{"questions":13117,"_type":45},[13118],{"question":13119,"answer":13120},"\u003Cp>You’ve mentioned being inspired by Villa André Bloc and the joy of creating for the soul rather than for function. How did this change the way you work?\u003C\u002Fp>\n","\u003Cp>Hugely! The trip to Paris you’re referencing was really transformative for me. I saw a lot of work in person for the first time that I’d only ever seen images of, and it really stuck with me. Villa André Bloc was mesmerising because it was just some guy making random structures in his garden for literally no reason other than that it felt right – it nourished his soul and he wanted to. That’s really how I’ve felt my entire life about my work. I’m not trying to invent anything new, make an overtly political statement, or shock or scare; I’m just trying to make work that nourishes my soul and hopefully nourishes the souls of others too. I think humans are a lot less logical than we like to think, and that’s something to be embraced. I just spent a week making an amphora – no one needs an amphora – it was a project purely for myself.\u003C\u002Fp>\n",{"images":13122,"size":56,"_type":57},[13123],{"_id":13124,"url":13125,"alt":18,"caption":18,"credit":18,"width":13099,"height":1787},2016,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-17.jpg",{"questions":13127,"_type":45},[13128],{"question":13129,"answer":13130},"\u003Cp>You’ve said you want people to feel “a little more like themselves” when they live with your pieces. What does that mean to you?\u003C\u002Fp>\n","\u003Cp>I think in life it’s so easy to become – or try to become – someone else’s vision of success. There’s that guy on the internet who loves trains, and I remember watching a video of him explaining that he stopped following trains in his late teens because he wanted to fit in. What’s sad is that as adults, I think we often still get stuck in patterns that stop us from expressing ourselves truly or freely.\u003C\u002Fp>\n\u003Cp>My work is slightly odd – it’s expressive, and to most people, I’m sure it’s not their cup of tea. In owning a piece of our work, I hope the person really loves it and sees it as a way of showing who they truly are. I like the idea that liking and owning a piece that goes against safe interior design is a way of rebelling against the forces that keep you down.\u003C\u002Fp>\n",{"images":13132,"size":84,"_type":57},[13133],{"_id":13134,"url":13135,"alt":18,"caption":18,"credit":18,"width":4970,"height":11429},2019,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-16.jpg",{"questions":13137,"_type":45},[13138],{"question":13139,"answer":13140},"\u003Cp>Are there specific details in your own home that feel like an extension of your identity?\u003C\u002Fp>\n","\u003Cp>So many! I have a Gaetano Pesce vase that I adore, a spiritual cow that I got in India, and a 1989 Macintosh Classic that doesn’t work but has the best-sounding keyboard ever. Of course, we also have some aluminium in there and a growing collection of art books. We also have a few bits of art that are really special to us.\u003C\u002Fp>\n",{"images":13142,"size":56,"_type":57},[13143],{"_id":13144,"url":13145,"alt":18,"caption":18,"credit":18,"width":4970,"height":1578},2020,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-13.jpg",{"questions":13147,"_type":45},[13148],{"question":13149,"answer":13150},"\u003Cp>Your work often embraces irregular edges and raw surfaces. How do you see material honesty and texture as part of your design identity?\u003C\u002Fp>\n","\u003Cp>Ok! Big question for me! When I was starting out, I loved the early work of Ron Arad, but as his work developed and his team’s skills grew, the pieces became more and more polished. They felt less and less like expressive works of art and more like decoration, in my opinion.\u003Cbr \u002F>\nImperfection is what makes us human. It’s not interesting to me in the slightest to make something perfectly; it’s much more interesting to make something with the scars of its construction, where feeling trumps finish. It’s like listening to Charli XCX’s Brat or the new Taylor Swift album (I love both of them, by the way). Charli’s is scrappy, raw, and honest; Taylor’s is decoration to the ears – it’s polished and catchy. Both have their place, but I’d rather make work like Charli.\u003C\u002Fp>\n",{"images":13152,"size":84,"_type":57},[13153],{"_id":13154,"url":13155,"alt":18,"caption":18,"credit":18,"width":4970,"height":11332},2021,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-8.jpg",{"questions":13157,"_type":45},[13158],{"question":13159,"answer":13160},"\u003Cp>Looking ahead, what are you curious to explore next?\u003C\u002Fp>\n","\u003Cp>Well! I really feel like I’m just starting on my art education journey. I spent all summer looking at Brâncuși, Calder, and Caro; now I’m looking at Dalí and Caravaggio – so let’s see what that inspires!\u003C\u002Fp>\n",{"images":13162,"size":56,"_type":57},[13163],{"_id":13164,"url":13165,"alt":18,"caption":18,"credit":18,"width":4970,"height":11332},2022,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-5.jpg",{"questions":13167,"_type":45},[13168],{"question":638,"answer":13169},"\u003Cp>Our Instagram is\u003Cbr \u002F>\n@six_dots_design, our website is www.sixdotsdesign.co.uk, and our workshop is in Bow, East London. Everyone is very welcome to visit.\u003C\u002Fp>\n",{"_type":6,"_id":13171,"slug":13172,"name":13173,"index":124,"date":13174,"thumbnails":13175,"description":18,"footerImage":13182,"categories":13185,"sections":13187},2024,"lameice-abu-aker-2","Lameice Abu Aker","2025-11-12",{"quote":13176,"main":13177,"secondary":13181,"reverse":24},"\u003Cp>“That negotiation, that dance between the intentions and the material’s stubborn will that’s where everything lives…”\u003C\u002Fp>\n",{"image":13178,"background":21,"fit":22},{"_id":13179,"url":13180,"alt":18,"caption":18,"credit":18,"width":4970,"height":5765},2025,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-18.jpg",{"image":24,"background":21,"fit":22},{"_id":13183,"url":13184,"alt":18,"caption":18,"credit":18,"width":4970,"height":5765},2026,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-20.jpg",[13186],{"_id":33,"slug":34,"name":35},[13188,13192,13196,13203,13208,13213,13218,13227,13232,13236,13241,13249,13254,13259,13264,13269,13274,13279,13284,13289],{"questions":13189,"_type":45},[13190],{"question":522,"answer":13191},"\u003Cp>Lameice Abu Aker. I’m a Jerusalemite that word carries more weight than any geography lesson could explain. I work between Jerusalem and Milan now, but Jerusalem lives in my bones. It’s the city that taught me contradiction is as interesting as clarity.\u003C\u002Fp>\n",{"questions":13193,"_type":45},[13194],{"question":3060,"answer":13195},"\u003Cp>I design objects, currently focused on glass that misbehave a little. I collaborate with a team of glassblower artisans and together we create, we make every single piece individually without moulds just breath, fire, and the audacity to ask “what if?” Each piece is imperfect, playful, alive. I think of them less as objects and more as co-conspirators in daily life.\u003C\u002Fp>\n",{"variant":1179,"images":13197,"_type":73},[13198,13200],{"_id":5007,"url":13199,"alt":18,"caption":18,"credit":18,"width":2847,"height":5765},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-17.jpg",{"_id":13201,"url":13202,"alt":18,"caption":18,"credit":18,"width":2847,"height":5765},2028,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-19.jpg",{"questions":13204,"_type":45},[13205],{"question":13206,"answer":13207},"\u003Cp>What do you think has become the biggest source of inspiration behind Ornamental?\u003C\u002Fp>\n","\u003Cp>I’m inspired by forms that don’t take themselves seriously yet have a sense of composure, the contradiction of combining design with the the accidental, and forms that make you smile before you understand why. I’m also interested in the material’s boundaries and I  want to see how far I can push glass before it rebels. Sometimes it wins, sometimes I do. That negotiation, that dance between the intentions and the material’s stubborn will that’s where everything lives.\u003C\u002Fp>\n",{"images":13209,"size":84,"_type":57},[13210],{"_id":13211,"url":13212,"alt":18,"caption":18,"credit":18,"width":2847,"height":1385},2029,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-19.jpg",{"questions":13214,"_type":45},[13215],{"question":13216,"answer":13217},"\u003Cp>How did you come across the artisans who manufacture the pieces?\u003C\u002Fp>\n","\u003Cp>During research on craft traditions in Palestinian villages. But what hooked me wasn’t just the technique it was the system they’d built. Everyone participates: grandmother, children, everyone contributes what they can in this two-room space in their home they call “the factory.”\u003Cbr \u002F>\nAnd then there was the glass itself molten, living, responding to breath. Watching it form felt like witnessing alchemy. The chance to play with it, to see what we could conjure together? That was irresistible.\u003C\u002Fp>\n",{"variant":1179,"images":13219,"_type":73},[13220,13224],{"_id":13221,"url":13222,"alt":18,"caption":18,"credit":18,"width":2847,"height":13223},2030,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-18.jpg",466,{"_id":13225,"url":13226,"alt":18,"caption":18,"credit":18,"width":2847,"height":13223},2031,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-19.jpg",{"questions":13228,"_type":45},[13229],{"question":13230,"answer":13231},"\u003Cp>What have the artisans you work with taught you that you didn’t expect to learn?\u003C\u002Fp>\n","\u003Cp>That mastery looks like surrender. Abu Marwan (Lead artisan) wakes up at 3am because glass speaks to him in his sleep, he finds a solution to a problem, writes it down before he forgets and we test it the next day. He’s built his own machines from necessity. I came in thinking I was the designer with the vision, but I learned I’m just another voice in the conversation between my ideas, their hands, and the material’s own opinions. The best work happens when I stop trying to control everything.\u003C\u002Fp>\n",{"images":13233,"size":84,"_type":57},[13234],{"_id":8971,"url":13235,"alt":18,"caption":18,"credit":18,"width":1184,"height":9745},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-18.jpg",{"questions":13237,"_type":45},[13238],{"question":13239,"answer":13240},"\u003Cp>Your practice exists between Milan and Palestine. How do these environments shape your work?\u003C\u002Fp>\n","\u003Cp>Milan taught me the language of contemporary design how to articulate ideas, how to be taken seriously in those conversations. Palestine holds the soul the ancient knowledge, the hands that know glass intimately, the resilience that makes beauty under impossible conditions.\u003Cbr \u002F>\nI weave them together. The work wouldn’t exist without both. One gives me vocabulary; the other gives me something worth saying.\u003C\u002Fp>\n",{"variant":1116,"images":13242,"_type":73},[13243,13246],{"_id":13244,"url":13245,"alt":18,"caption":18,"credit":18,"width":1817,"height":6365},2033,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-18.jpg",{"_id":13247,"url":13248,"alt":18,"caption":18,"credit":18,"width":1817,"height":6365},2034,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-18.jpg",{"questions":13250,"_type":45},[13251],{"question":13252,"answer":13253},"\u003Cp>You’ve said your pieces are “whimsical, thoughtful, and occasionally surreal.” What draws you to these qualities?\u003C\u002Fp>\n","\u003Cp>I think I’m interested in how things can be both orderly and chaotic at the same time. Isn’t that everything around us? A perfectly structured city that feels completely wild. An ancient technique that produces something unexpected. Composure and mess, existing in the same breath.\u003Cbr \u002F>\nThe Play is honest and it’s actually how I see the world. Though It feels like there’s something almost provocative about joy I try to transmit through the works, especially joy that emerges from difficult circumstances.\u003C\u002Fp>\n",{"images":13255,"size":56,"_type":57},[13256],{"_id":13257,"url":13258,"alt":18,"caption":18,"credit":18,"width":3286,"height":6365},2036,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-17.jpg",{"questions":13260,"_type":45},[13261],{"question":13262,"answer":13263},"\u003Cp>Glass can be both fragile and eternal. Do you see that duality as a reflection of the emotions you’re trying to express?\u003C\u002Fp>\n","\u003Cp>Glass is a truly honest material. It shows you everything every bubble, every hesitation, every moment of doubt. It’s transparent but distorts what you see through it. It can last millennia or shatter tomorrow.\u003Cbr \u002F>\nWe put glass in cabinets because we’re terrified of breaking it. But these pieces are meant to be used, touched, risked. That fragility isn’t weakness it’s what makes them precious. Like hearts. Like promises. Like any beautiful thing that asks for your care. The pieces say: I’m breakable, but touch me anyway. That’s trust.\u003C\u002Fp>\n",{"images":13265,"size":56,"_type":57},[13266],{"_id":13267,"url":13268,"alt":18,"caption":18,"credit":18,"width":5459,"height":2244},2037,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-14.jpg",{"questions":13270,"_type":45},[13271],{"question":13272,"answer":13273},"\u003Cp>Your glass pieces are mouth blown without molds, giving each one its own irregularities. How important is individuality in your pieces?\u003C\u002Fp>\n","\u003Cp>Essential. Each piece is a keeper of a it’s own expedition from the moment it’s designed to its molten state to the shaping. Every one holds the breath of the artisan who made it in that exact moment in time. That hand movement, that particular dance, that Tuesday afternoon it’s all there.\u003Cbr \u002F>\nThese irregularities are proof someone was actually present when this was made. You can feel human presence in each piece. In a world of too much machine, too much sameness, that matters. Its individuality isn’t just important it’s everything.\u003C\u002Fp>\n",{"images":13275,"size":56,"_type":57},[13276],{"_id":13277,"url":13278,"alt":18,"caption":18,"credit":18,"width":5459,"height":8033},2038,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-9.jpg",{"questions":13280,"_type":45},[13281],{"question":13282,"answer":13283},"\u003Cp>If you could expand Ornamental beyond glass, into another medium, what could it be?\u003C\u002Fp>\n","\u003Cp>I’m promiscuous with materials. As a designer, I’m drawn to their psychology how each has its own personality, its own secrets to tell. Glass has me completely seduced at the moment, but I could see conversations with ceramics, textiles, metal anything that wants to play, anything that can hold memory and participate in life.\u003Cbr \u002F>\nThe medium might change, but the philosophy stays: imperfect, human, made with care and a bit of play.\u003C\u002Fp>\n",{"images":13285,"size":56,"_type":57},[13286],{"_id":13287,"url":13288,"alt":18,"caption":18,"credit":18,"width":5519,"height":509},2039,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-6.jpg",{"questions":13290,"_type":45},[13291],{"question":638,"answer":13292},"\u003Cp>\u003Ca href=\"http:\u002F\u002Fwww.ornamentalbylameice.com\"> www.ornamentalbylameice.com\u003C\u002Fa> for the work. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fornamental_by\u002F?g=5\">@ornamental_by\u003C\u002Fa> on Instagram. And  for behind-the-scenes chaos our newsletter and Substack.\u003C\u002Fp>\n",{"_type":6,"_id":7086,"slug":13294,"name":13295,"index":224,"date":13296,"thumbnails":13297,"description":18,"footerImage":13304,"categories":13307,"sections":13309},"tianxing-xu","Tianxing Xu","2025-11-16",{"quote":13298,"main":13299,"secondary":13303,"reverse":24},"\u003Cp>“The person who built this amusement park neither owns it nor visits it…”\u003C\u002Fp>\n",{"image":13300,"background":21,"fit":22},{"_id":13301,"url":13302,"alt":18,"caption":18,"credit":18,"width":407,"height":10639},2042,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-19.jpg",{"image":24,"background":21,"fit":22},{"_id":13305,"url":13306,"alt":18,"caption":18,"credit":18,"width":13099,"height":2431},2043,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-21.jpg",[13308],{"_id":127,"slug":146,"name":147},[13310,13314,13318,13323,13328,13333,13338,13346,13351,13356,13361,13367,13372,13377,13382,13387,13392,13397],{"questions":13311,"_type":45},[13312],{"question":1766,"answer":13313},"\u003Cp>My name is Tianxing Xu. I was born in Shanghai , currently based between China and the USA.\u003C\u002Fp>\n",{"questions":13315,"_type":45},[13316],{"question":3060,"answer":13317},"\u003Cp>If it is possible, I wish, I wish my paintings could be clean and soft, and construct chaos with absolute order.\u003C\u002Fp>\n",{"images":13319,"size":84,"_type":57},[13320],{"_id":13321,"url":13322,"alt":18,"caption":18,"credit":18,"width":11992,"height":10639},2044,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-18.jpg",{"questions":13324,"_type":45},[13325],{"question":13326,"answer":13327},"\u003Cp>What first drew you to painting?\u003C\u002Fp>\n","\u003Cp>I realized I’m not good at anything else besides this.\u003C\u002Fp>\n",{"images":13329,"size":56,"_type":57},[13330],{"_id":13331,"url":13332,"alt":18,"caption":18,"credit":18,"width":11992,"height":10639},2045,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-20.jpg",{"questions":13334,"_type":45},[13335],{"question":13336,"answer":13337},"\u003Cp>You reference Baudrillard and the ideas of a simulation, when did philosophy begin to merge with your art?\u003C\u002Fp>\n","\u003Cp>Initially, it focused on a specific amusement park, a specific memory and extended the emotion. To then explore the theme further, however, while digging up these regrets and traumas to present them on canvas, the primitive impulse for creation is also burned out while expressing them. I realized that these things were already behind me and it was necessary to pretend moving in the same direction. Like Baudrillard’s description of the ‘after the orgy’ of modernity, “We live amid the interminable reproduction of ideals, phantasies, images and dreams which are now behind us,”  I denied the meaning of the memories’ existence while compensating and pursuing my desires about the previous times. I realized in order to continue this series, I had to abandon the imitation of the entity of specific amusement parks and memories and move towards the simulation of the symbols that amusement parks represent.\u003C\u002Fp>\n",{"variant":1116,"images":13339,"_type":73},[13340,13343],{"_id":13341,"url":13342,"alt":18,"caption":18,"credit":18,"width":11992,"height":7826},2046,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-20.jpg",{"_id":13344,"url":13345,"alt":18,"caption":18,"credit":18,"width":11992,"height":7826},2047,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-19.jpg",{"questions":13347,"_type":45},[13348],{"question":13349,"answer":13350},"\u003Cp>What drew you to amusement parks as a recurring symbol?\u003C\u002Fp>\n","\u003Cp>Jacobus Mary said, “The erotic object can never be fully possessed; but neither can the desiring imagination let it go. Desire drives the mobility of endless substitutions.”  This describes Cy Twombly who uses mythological story in his paintings to reveal himself torn between desire and memory. The sense of unfinishedness that I have carefully planned in the frame is an exterior reflection of the vague emotion of obsession with the past. I imitated the perfect amusement park in my mind and enjoyed the things I never had.\u003C\u002Fp>\n",{"images":13352,"size":84,"_type":57},[13353],{"_id":2172,"url":13354,"alt":18,"caption":18,"credit":18,"width":13355,"height":7348},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F08022.jpg.avif",1756,{"questions":13357,"_type":45},[13358],{"question":13359,"answer":13360},"\u003Cp>You mention “constructing chaos with absolute order.” What does this mean to you?\u003C\u002Fp>\n","\u003Cp>“Constructivist texts are based on language, not as a vehicle for meaning, but as a material performing its own body and expressive resourcefulness.”\u003C\u002Fp>\n",{"images":13362,"size":84,"_type":57},[13363],{"_id":13364,"url":13365,"alt":18,"caption":18,"credit":18,"width":13366,"height":1219},2049,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-20.jpg",615,{"questions":13368,"_type":45},[13369],{"question":13370,"answer":13371},"\u003Cp>Many of your works reference the aftermath. Are you more interested in what happens during chaos or after it?\u003C\u002Fp>\n","\u003Cp>The moments that interest me are those fragmented, inflated, discontinuous flashes exposed by the chaos. Using a static medium to capture movement, what the audience expects is not motion but stillness, a stillness that strips away time and denies reality.\u003C\u002Fp>\n",{"images":13373,"size":56,"_type":57},[13374],{"_id":13375,"url":13376,"alt":18,"caption":18,"credit":18,"width":13366,"height":1219},2050,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-19.jpg",{"questions":13378,"_type":45},[13379],{"question":13380,"answer":13381},"\u003Cp>For your solo exhibition “The Duet’s Carnival,” you mention that we must “bring a plus one, even if it is yourself.” What are you inviting us to confront?\u003C\u002Fp>\n","\u003Cp>This was written by the curator. I believe the answer belongs to him and the audience, not me. The person who built this amusement park neither owns it nor visits it.\u003C\u002Fp>\n",{"images":13383,"size":84,"_type":57},[13384],{"_id":13385,"url":13386,"alt":18,"caption":18,"credit":18,"width":2488,"height":869},2051,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002Fmcg0122KandyPlayshop-2.jpg",{"questions":13388,"_type":45},[13389],{"question":13390,"answer":13391},"\u003Cp>Your process seems self healing and interrogating. How do you know when a painting offered you closure?\u003C\u002Fp>\n","\u003Cp>When I also forget the motivation behind my creation and can accept any interpretation of that work.\u003C\u002Fp>\n",{"images":13393,"size":56,"_type":57},[13394],{"_id":13395,"url":13396,"alt":18,"caption":18,"credit":18,"width":9490,"height":4127},2052,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-19.jpg",{"questions":13398,"_type":45},[13399],{"question":638,"answer":13400},"\u003Cp>I am currently pursuing my PhD in University of Macau. I also attend some group exhibitions in Shanghai, New York, etc. Next year, I will have a solo exhibition in the Gibbes Museum of Art.\u003Cbr \u002F>\nBesides social media, my work can be found at Allen Avery Gallery in Atlanta. also some in New York at Eli Klein Gallery.\u003C\u002Fp>\n",{"_type":6,"_id":6603,"slug":13402,"name":13403,"index":13404,"date":13405,"thumbnails":13406,"description":18,"footerImage":13413,"categories":13415,"sections":13417},"acidsiiia-2","ACIDSIIIA",107,"2025-11-19",{"quote":13407,"main":13408,"secondary":13412,"reverse":24},"\u003Cp>“garments (…) carried stories, not because we made them  ourselves, but because they travelled through time.”\u003C\u002Fp>\n",{"image":13409,"background":21,"fit":22},{"_id":13410,"url":13411,"alt":18,"caption":18,"credit":18,"width":2634,"height":2915},2662,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FACIDSIIA.jpg",{"image":24,"background":21,"fit":22},{"_id":5950,"url":13414,"alt":18,"caption":18,"credit":18,"width":9490,"height":4127},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-22.jpg",[13416],{"_id":240,"slug":2416,"name":2417},[13418,13422,13426,13431,13436,13441,13446,13451,13456,13460,13465,13473,13478,13482,13487,13492,13497,13503],{"questions":13419,"_type":45},[13420],{"question":1766,"answer":13421},"\u003Cp>My name is Anastasiia, and I’m from Ukraine. I’m currently based in the UK, where I continue developing my brand,  ACIDSIIIA — a project deeply tied to the idea of home, memory, and resilience.\u003C\u002Fp>\n",{"questions":13423,"_type":45},[13424],{"question":3060,"answer":13425},"\u003Cp>Emotional craftsmanship. Cultural preservation. Contemporary nostalgia.\u003C\u002Fp>\n",{"images":13427,"size":84,"_type":57},[13428],{"_id":13429,"url":13430,"alt":18,"caption":18,"credit":18,"width":6542,"height":7826},2057,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-19.jpg",{"questions":13432,"_type":45},[13433],{"question":13434,"answer":13435},"\u003Cp>You’ve described fashion as a vessel for empowerment and memory. What first  made you see clothing as a language for emotion and identity?\u003C\u002Fp>\n","\u003Cp>In my family, garments  were treated with deep care — they carried stories, not because we made them  ourselves, but because they travelled through time. Some pieces were passed from  parent to child, holding the memory of those who wore them before. I grew up seeing  how clothing could carry warmth, scent, and emotion, becoming a quiet archive of our  lives. Later, when words felt too fragile, I turned to making as a way to continue that  dialogue — to translate memory into form and texture.\u003C\u002Fp>\n",{"images":13437,"size":84,"_type":57},[13438],{"_id":13439,"url":13440,"alt":18,"caption":18,"credit":18,"width":3739,"height":7826},2058,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-21.jpg",{"questions":13442,"_type":45},[13443],{"question":13444,"answer":13445},"\u003Cp>How did the experience of displacement and distance from Ukraine shape your creative voice?\u003C\u002Fp>\n","\u003Cp>When you live somewhere, you don’t always realise how much it means  to you — you think there are better places, different lives waiting elsewhere. But once  you lose that closeness, you start to see it differently. Distance made me listen more  carefully and appreciate the small things I once overlooked. It also made me think about  how to preserve what feels like it’s disappearing. My work has become a way to hold  onto those memories — the textures, colours, and moments that shaped me — and to  find a sense of home within them again.\u003C\u002Fp>\n",{"images":13447,"size":56,"_type":57},[13448],{"_id":13449,"url":13450,"alt":18,"caption":18,"credit":18,"width":3739,"height":7826},2059,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-21.jpg",{"questions":13452,"_type":45},[13453],{"question":13454,"answer":13455},"\u003Cp>Your work often mixes nostalgia and modernity. Are there subtle details within  your garments that carry traces of this nostalgia that one may not directly notice?\u003C\u002Fp>\n","\u003Cp>Yes, many of these details are hidden — hand-finished seams, uneven edges, or textures  that reference folk garments. I often integrate felted or crocheted elements made by Ukrainian artisans, embedding small imperfections that feel human. These quiet  gestures are my way of honouring the past without making it overly visible — they exist  almost like whispers inside the garment.\u003C\u002Fp>\n",{"images":13457,"size":56,"_type":57},[13458],{"_id":6750,"url":13459,"alt":18,"caption":18,"credit":18,"width":3739,"height":5265},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-20.jpg",{"questions":13461,"_type":45},[13462],{"question":13463,"answer":13464},"\u003Cp>In ECHO, you translate homesickness, loss, and resilience into form. Do you think  clothing can hold emotion the same way an object or photograph can?\u003C\u002Fp>\n","\u003Cp>Absolutely.  Clothing is one of the most intimate objects we live with. It absorbs our gestures, our warmth, even our absence. When something is made with care, it carries a certain energy — you can feel it when you touch it or wear it. ECHO explores that idea — that a  garment can become a vessel for feeling, a continuation of memory through material.\u003C\u002Fp>\n",{"variant":1116,"images":13466,"_type":73},[13467,13470],{"_id":13468,"url":13469,"alt":18,"caption":18,"credit":18,"width":1600,"height":5265},2062,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-20.jpg",{"_id":13471,"url":13472,"alt":18,"caption":18,"credit":18,"width":1600,"height":5265},2063,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-21.jpg",{"questions":13474,"_type":45},[13475],{"question":13476,"answer":13477},"\u003Cp>You’ve collaborated with Ukrainian artisans working under extraordinary  conditions. What have these collaborations taught you about resilience and the  meaning of craU today?\u003C\u002Fp>\n","\u003Cp>They’ve taught me that craft is an act of resistance. Continuing  to create — to felt, to weave, to crochet — in times of instability is profoundly powerful.  It connects people across distance and keeps a cultural heartbeat alive. What moves me  most is that we are united by the same emotions — by fear, uncertainty, and also by  hope. Even when everything feels fragile, there’s something almost magical in the process of making it together. It gives a sense of light, of purpose, and a belief that beauty  can still exist in the middle of chaos.\u003C\u002Fp>\n",{"images":13479,"size":56,"_type":57},[13480],{"_id":7169,"url":13481,"alt":18,"caption":18,"credit":18,"width":1600,"height":5265},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-20.jpg",{"questions":13483,"_type":45},[13484],{"question":13485,"answer":13486},"\u003Cp>You speak about fashion as a “ritual of elegance.” What does that ritual look like for  you personally?\u003C\u002Fp>\n","\u003Cp>For me, elegance is about presence — being slow and intentional in  how you move through the day and what you choose to wear. I see dressing as a quiet  moment of connection with yourself, a way to return to your body and to notice how  something feels against the skin. It’s not about appearance or perfection, but about care and awareness. To wear ACIDSIIIA is to take time — to appreciate texture, balance, and  silence. It’s a reminder that clothing can ground you, slow you down, and help you feel  present in your own rhythm.\u003C\u002Fp>\n",{"images":13488,"size":84,"_type":57},[13489],{"_id":13490,"url":13491,"alt":18,"caption":18,"credit":18,"width":5314,"height":2224},2065,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-19.jpg",{"questions":13493,"_type":45},[13494],{"question":13495,"answer":13496},"\u003Cp>Is there a garment that you see as a form of healing? For yourself or for those who wear it?\u003C\u002Fp>\n","\u003Cp>I believe every garment can be a form of healing. Each piece carries traces of  the hands that made it and the energy of the moment it was created. There’s something  deeply comforting in clothing that wraps and protects the body — it creates a sense of  safety and closeness. When you feel the material against your skin, it becomes more than just fabric; it becomes a quiet reminder that you’re held, seen, and connected.\u003C\u002Fp>\n",{"images":13498,"size":84,"_type":57},[13499],{"_id":13500,"url":13501,"alt":18,"caption":18,"credit":18,"width":4429,"height":13502},2066,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-18.jpg",453,{"questions":13504,"_type":45},[13505],{"question":638,"answer":13506},"\u003Cp>You can find me on Instagram at @acidsiiia and on my website  www.acidsiiia.com. My project ECHO will be presented as part of the Autumn\u002FWinter  2025–26 season, continuing to explore themes of memory, displacement, and craft through slow, collaborative making.\u003C\u002Fp>\n",{"_type":6,"_id":13508,"slug":13509,"name":13510,"index":141,"date":13511,"thumbnails":13512,"description":18,"footerImage":13519,"categories":13522,"sections":13524},2068,"alexandra-marchina","Alexandra Marchina","2025-11-23",{"quote":13513,"main":13514,"secondary":13518,"reverse":24},"\u003Cp>“When I create, I feel like I become a medium too, a material through which a bigger energy can express itself…”\u003C\u002Fp>\n",{"image":13515,"background":21,"fit":22},{"_id":13516,"url":13517,"alt":18,"caption":18,"credit":18,"width":7890,"height":6349},2078,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-20.jpg",{"image":24,"background":21,"fit":22},{"_id":13520,"url":13521,"alt":18,"caption":18,"credit":18,"width":5032,"height":1211},2070,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-23.jpg",[13523],{"_id":33,"slug":34,"name":35},[13525,13529,13533,13538,13543,13548,13553,13558,13563,13571,13576,13581,13586,13591,13596,13601,13606,13611,13616,13624],{"questions":13526,"_type":45},[13527],{"question":1766,"answer":13528},"\u003Cp>My name is Alexandra Marchina. I was born in Mexico, but studied fashion design in Milan, and now my studio is based back in Guadalajara, Mexico.\u003C\u002Fp>\n",{"questions":13530,"_type":45},[13531],{"question":3060,"answer":13532},"\u003Cp>I create jewelry using silver, gold, and natural gemstones. Each piece reflects how I see the world translating thoughts and emotions into tangible form. When I create, I feel like I become a medium too, a material through which a bigger energy can express itself.\u003C\u002Fp>\n",{"images":13534,"size":56,"_type":57},[13535],{"_id":13536,"url":13537,"alt":18,"caption":18,"credit":18,"width":5032,"height":1211},2071,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-20.jpg",{"questions":13539,"_type":45},[13540],{"question":13541,"answer":13542},"\u003Cp>You grew up in Mexico surrounded by a multitude of inspiration, how do you feel this fed into your design aesthetic?\u003C\u002Fp>\n","\u003Cp>Growing up in Mexico made me value craftsmanship and the artistry behind handmade work, we have some of the most skilled artisans in the world. It also connected me to a more spiritual and esoteric side of life. Mexico has a deep relationship with mysticism, spirituality, energy, and symbolism. That’s where a part of my creative language comes from.\u003C\u002Fp>\n",{"images":13544,"size":84,"_type":57},[13545],{"_id":7173,"url":13546,"alt":18,"caption":18,"credit":18,"width":13547,"height":4623},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-22.jpg",1513,{"questions":13549,"_type":45},[13550],{"question":13551,"answer":13552},"\u003Cp>Your aunt introduced you to painting and sculpture, later you studied fashion design — how do those early mediums influence your jewelry?\u003C\u002Fp>\n","\u003Cp>Painting taught me to express emotion through color. Sculpture trained my hands  it gave me freedom to distort, exaggerate, and explore form. Fashion helped me understand how an object lives with the body. All three shaped the way I design.\u003C\u002Fp>\n",{"images":13554,"size":56,"_type":57},[13555],{"_id":13556,"url":13557,"alt":18,"caption":18,"credit":18,"width":7520,"height":4623},2073,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-22.jpg",{"questions":13559,"_type":45},[13560],{"question":13561,"answer":13562},"\u003Cp>You mention you don’t have a single source of inspiration, that it can come from anywhere. What’s an unexpected source that’s inspired you in a way you would have never seen coming?\u003C\u002Fp>\n","\u003Cp>I was in my studio, not really looking for inspiration, just holding a feather I’d collected, and I was on my phone, it slipped and landed across my hand in a very specific way and I knew instantly that it had to become a ring. It was a small accident, but it completely shaped the piece.\u003C\u002Fp>\n",{"variant":1116,"images":13564,"_type":73},[13565,13568],{"_id":13566,"url":13567,"alt":18,"caption":18,"credit":18,"width":7520,"height":1602},2074,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-21.jpg",{"_id":13569,"url":13570,"alt":18,"caption":18,"credit":18,"width":7520,"height":1602},2075,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-22.jpg",{"questions":13572,"_type":45},[13573],{"question":13574,"answer":13575},"\u003Cp>You’ve said you’re drawn to surrealism because it removes the boxes of what something “should” look like. What kind of freedom does that give you? Does this guide you beyond work?\u003C\u002Fp>\n","\u003Cp>I like to give a small twist to ordinary things to make you look at them differently. I’m a very visual person, and surrealism frees my mind in a way that allows me to follow instinct over logic.\u003C\u002Fp>\n",{"images":13577,"size":84,"_type":57},[13578],{"_id":13579,"url":13580,"alt":18,"caption":18,"credit":18,"width":7520,"height":1602},2076,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-21.jpg",{"questions":13582,"_type":45},[13583],{"question":13584,"answer":13585},"\u003Cp>How present is nature in your work?\u003C\u002Fp>\n","\u003Cp>Always. Nature is the most creative artist. It’s present not only in form but in the materials I use I work only with natural gemstones. I believe each one carries its own energy, and that connection gives the pieces life.\u003C\u002Fp>\n",{"images":13587,"size":56,"_type":57},[13588],{"_id":13589,"url":13590,"alt":18,"caption":18,"credit":18,"width":7890,"height":11466},2077,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-21.jpg",{"questions":13592,"_type":45},[13593],{"question":13594,"answer":13595},"\u003Cp>The stones in your pieces feel intentional. Do they hold a particular meaning for you?\u003C\u002Fp>\n","\u003Cp>I believe each gemstone carries its own personality and vibration they’re like the DNA of the earth. Being able to have that adorn your body is special. The cut is mostly aesthetic, but what truly matters to me is the stone’s natural character and energy.\u003C\u002Fp>\n",{"images":13597,"size":56,"_type":57},[13598],{"_id":13599,"url":13600,"alt":18,"caption":18,"credit":18,"width":5032,"height":1211},2069,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-21.jpg",{"questions":13602,"_type":45},[13603],{"question":13604,"answer":13605},"\u003Cp>Is there a place you love returning to that always reconnects you to yourself?\u003C\u002Fp>\n","\u003Cp>It’s more of a state of mind than a place. Music helps me reach that space to reconnect with myself.\u003C\u002Fp>\n",{"images":13607,"size":56,"_type":57},[13608],{"_id":13609,"url":13610,"alt":18,"caption":18,"credit":18,"width":3761,"height":6349},2079,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-19.jpg",{"questions":13612,"_type":45},[13613],{"question":13614,"answer":13615},"\u003Cp>If you could expand Marchina beyond jewelry, into another medium, what could it be?\u003C\u002Fp>\n","\u003Cp>I would like to create furniture, objects, and clothes. I would love to do things on a bigger scale.\u003C\u002Fp>\n",{"variant":1116,"images":13617,"_type":73},[13618,13621],{"_id":13619,"url":13620,"alt":18,"caption":18,"credit":18,"width":3761,"height":6349},2080,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-15.jpg",{"_id":13622,"url":13623,"alt":18,"caption":18,"credit":18,"width":3761,"height":6349},2081,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-10.jpg",{"questions":13625,"_type":45},[13626],{"question":638,"answer":13627},"\u003Cp>People can find me through my website \u003Ca href=\"https:\u002F\u002Fwww.marchina.mx\u002Fpassword\">marchinabrand.com\u003C\u002Fa> and Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmarchina\u002F?g=5\">@marchina\u003C\u002Fa>.\u003C\u002Fp>\n",{"_type":6,"_id":13629,"slug":13630,"name":13631,"index":13632,"date":13633,"thumbnails":13634,"description":18,"footerImage":13641,"categories":13644,"sections":13646},2083,"shivangi-vasudeva","Shivangi Vasudeva",109,"2025-11-26",{"quote":13635,"main":13636,"secondary":13640,"reverse":24},"\u003Cp>“reclamation means shifting the gaze…”\u003C\u002Fp>\n",{"image":13637,"background":21,"fit":139},{"_id":13638,"url":13639,"alt":18,"caption":18,"credit":18,"width":3761,"height":5294},2084,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-22.jpg",{"image":24,"background":21,"fit":22},{"_id":13642,"url":13643,"alt":18,"caption":18,"credit":18,"width":3761,"height":6349},2085,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-24.jpg",[13645],{"_id":33,"slug":34,"name":35},[13647,13651,13655,13663,13668,13675,13680,13688,13693,13700,13705,13710,13715,13720,13724,13729,13734],{"questions":13648,"_type":45},[13649],{"question":1766,"answer":13650},"\u003Cp>My name is Shivangi Vasudeva. I’m a furniture designer working between India and London. My hometown is Indore, in central India, where much of the woodworking for my pieces takes place.\u003C\u002Fp>\n",{"questions":13652,"_type":45},[13653],{"question":3060,"answer":13654},"\u003Cp>My practice has grown from travelling across India and learning alongside communities whose knowledge is at risk of being lost. Much of my work begins with vernacular materials – wood, bamboo, woven fibres,  and with field research into objects whose roles have shifted over time or now sit behind museum glass. I’m interested in what happens to form when function changes: how a tool, a seat, or a ritual object evolves as its context does. In my furniture, I work with solid, grounded volumes that are refined through hand-making and collaboration. At its core, my practice is about material intelligence, the pace of craft, and finding ways for memory and contemporary life to coexist in the same piece.\u003C\u002Fp>\n",{"variant":1116,"images":13656,"_type":73},[13657,13660],{"_id":13658,"url":13659,"alt":18,"caption":18,"credit":18,"width":1659,"height":5294},2086,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-21.jpg",{"_id":13661,"url":13662,"alt":18,"caption":18,"credit":18,"width":1659,"height":5294},2087,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-23.jpg",{"questions":13664,"_type":45},[13665],{"question":13666,"answer":13667},"\u003Cp>You said that design for you is a form of recollection. What is the earliest memory of an object or textile that influenced your work?\u003C\u002Fp>\n","\u003Cp>Some of my earliest memories are of wandering around our home, opening cupboards and finding old vessels, brass tools, and curious objects my grandfather collected from different parts of India. I didn’t always know their purpose, but I understood their shapes – the full belly of a pot, the clean line of a handle. They were utilitarian, yet sculptural. That’s where my fascination with volume and silhouette began, and how I learned to look at form.\u003Cbr \u002F>\nThe sound of machines from my family’s denim factory was always present in my childhood. But I understood textiles more through my mother’s workshop – watching fabrics shaped by skilled hands of our artisans and recognising the knowledge they held in every stitch. Between those two environments, my practice took form. The wood I carve and the weaving in my pieces come from the same belief: that objects serve a purpose, and textiles carry craft that endures quietly through people.\u003C\u002Fp>\n",{"variant":1179,"images":13669,"_type":73},[13670,13672],{"_id":12327,"url":13671,"alt":18,"caption":18,"credit":18,"width":1659,"height":5027},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-23.jpg",{"_id":13673,"url":13674,"alt":18,"caption":18,"credit":18,"width":1659,"height":5027},2089,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-22.jpg",{"questions":13676,"_type":45},[13677],{"question":13678,"answer":13679},"\u003Cp>You write, “For too long, Indian and indigenous crafts have been viewed through a lens of exoticism. I’m working to reclaim these narratives as living, resilient practices.” What does reclamation mean to you as a designer?\u003C\u002Fp>\n","\u003Cp>For me, reclamation means shifting the gaze. It is about honouring traditional craft not as a static relic of the past but as a living system of knowledge that continues to support the livelihoods of millions. Craft is one of the country’s largest economies, yet the value attached to it often doesn’t match the skill, time, and intelligence it demands.\u003C\u002Fp>\n\u003Cp>As a designer, I see my role as creating conditions where these practices can endure and evolve – where craft is recognised as expertise, not undervalued as inexpensive labour in India or celebrated as something ‘exotic’ only when it leaves the country. Reclamation is also about returning agency to the artisans and communities who hold this knowledge, allowing their voices and skills to shape how these practices live on in contemporary design.\u003C\u002Fp>\n",{"variant":1116,"images":13681,"_type":73},[13682,13685],{"_id":13683,"url":13684,"alt":18,"caption":18,"credit":18,"width":9567,"height":5027},2090,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-23.jpg",{"_id":13686,"url":13687,"alt":18,"caption":18,"credit":18,"width":3087,"height":2122},2091,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-22.jpg",{"questions":13689,"_type":45},[13690],{"question":13691,"answer":13692},"\u003Cp>A lot of your work draws from artefacts and archives. Is there a small detail in one or more of your pieces that holds symbolic meaning that someone unfamiliar with it might not pick up on?\u003C\u002Fp>\n","\u003Cp>Yes , many small details in my work come from artefacts and visual cues I encountered during my research in Nagaland. On the Takhat, for example, the subtle carvings along the handles are informed by the forms of traditional Naga smoking pipes reinterpreted so the reference is there, but not literal. The notches on the back of the four-seater version draw from two sources: the carved grips of weapon handles and the stitch structures found on Naga shawls. I’ve amplified their scale so the construction technique becomes visible as a sculptural detail.\u003Cbr \u002F>\nThe low, grounded seating also comes from how people gather in the region – monolithic forms close to the earth that support communal life. Designing with that understanding felt important. These elements may seem quiet to someone unfamiliar with the culture, but each comes from lived practice. I am intentional about avoiding sacred motifs; the references I work with are rooted in everyday craft and contemporary life.\u003C\u002Fp>\n",{"variant":1116,"images":13694,"_type":73},[13695,13698],{"_id":13696,"url":13697,"alt":18,"caption":18,"credit":18,"width":2067,"height":3962},2092,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-22.jpg",{"_id":9185,"url":13699,"alt":18,"caption":18,"credit":18,"width":1161,"height":6803},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-21.jpg",{"questions":13701,"_type":45},[13702],{"question":13703,"answer":13704},"\u003Cp>You mention that artisans are too often reduced to “silent executors.” What did working with Naga women weavers teach you?\u003C\u002Fp>\n","\u003Cp>Working with Naga women weavers taught me a lot about resilience. These are women who balance work, childcare, and household responsibilities, and weaving fits into their lives because they can do it from their verandahs – staying close to family while maintaining financial independence.\u003Cbr \u002F>\nIn Nagaland, weaving has traditionally been a woman’s domain – “no man can touch the loom,” as the saying goes. There is empowerment in that continuity. It was also important for me to see how the tools have adapted over time: looms adjusted to support their backs better, so the craft can continue without physical strain.\u003Cbr \u002F>\nIt made me consider how designers can create working structures that prioritise flexibility, wellbeing, and dignity alongside craftsmanship. Much of what I learned was made possible through collaborating with Jesmina at Heirloom Naga, whose ongoing work has helped the craft grow with visibility and respect.\u003C\u002Fp>\n",{"images":13706,"size":56,"_type":57},[13707],{"_id":13708,"url":13709,"alt":18,"caption":18,"credit":18,"width":1161,"height":6803},2094,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-20.jpg",{"questions":13711,"_type":45},[13712],{"question":13713,"answer":13714},"\u003Cp>What possibilities open up for you when you combine digital and handmade methods?\u003C\u002Fp>\n","\u003Cp>Combining digital and handmade methods allows me to explore how innovation and tradition can not only coexist, but meaningfully strengthen one another. We often treat eco-technology, material innovation, and craft as separate paths toward sustainability, but I believe they can work together , especially in a country like India, where knowledge is deeply embedded in the hand. A recent example is Ikai, a seating family created as a collaboration with the company EcoLattice for London Design Week at Aram Gallery, where 3D-printed foam made from recycled polymers sits in dialogue with a hand-carved wooden base and handwoven textiles from women weavers in Nagaland. The recycled foam was developed as an alternative to conventional PU foams widely used in upholstery – a material long overlooked within our industry despite being a major source of non-recyclable waste.By combining advanced fabrication with inherited craft practices, Ikai demonstrates that craft and technology can come together to create objects that are functional, enduring, and attentive to the cultural and material stories they carry.\u003C\u002Fp>\n",{"questions":13716,"_type":45},[13717],{"question":13718,"answer":13719},"\u003Cp>Is there a piece that challenged you technically or conceptually more than others?\u003C\u002Fp>\n","\u003Cp>The Takhat four-seater bench has definitely been my most challenging piece – technically and conceptually. I was trying to balance two opposing ideas: a solid, sculptural form that also needed to be disassembled for shipping and urban living. Working from a small apartment in London, and building a young practice, meant I had to consider shipping, storage, and the practicalities of how clients live with large furniture. That tension became an important part of the design.\u003Cbr \u002F>\nThe bench is 260 cm long with dramatically elongated proportions, yet the seat rests only on its legs with no support or joinery through the middle. The back also has to carry part of the structural load. Achieving this stability, while keeping the joinery simple enough for clients to assemble themselves, took extensive testing. It weighs nearly 200 kg, so selecting a wood that could handle both structural stress and weather variations was essential.\u003Cbr \u002F>\nTakhat pushed me to think differently about sculpture, logistics, and how a piece can be monumental yet still adaptable to real life.\u003C\u002Fp>\n",{"images":13721,"size":84,"_type":57},[13722],{"_id":2636,"url":13723,"alt":18,"caption":18,"credit":18,"width":11153,"height":5551},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-11.jpg",{"questions":13725,"_type":45},[13726],{"question":13727,"answer":13728},"\u003Cp>What direction are you most excited to head into next?\u003C\u002Fp>\n","\u003Cp>I’m really excited about what comes next. I’m still early in my journey, and a lot of my work is also me figuring out who I am as a designer. No one really talks about how hard it is to find your own language , or even question whether you need one – but those are the things I’m thinking about right now, and I’m looking forward to that exploration.\u003C\u002Fp>\n\u003Cp>I’m researching new communities to collaborate with, and there are some upcoming collaborations that look into the more mythical side of India – which feels like a return to the curiosity I had while at Central Saint Martins. After launching my first collection, I’ve learned so much about market realities, function, and responsibility. With this next chapter, I’m trying to bring that understanding together with my own artistic instincts. It feels like the beginning of something bigger, and I can’t wait to see where it leads.\u003C\u002Fp>\n",{"images":13730,"size":56,"_type":57},[13731],{"_id":13732,"url":13733,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2096,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-7.jpg",{"questions":13735,"_type":45},[13736],{"question":638,"answer":13737},"\u003Cp>People can find my work on my website and social media – www.shivangivasudeva.com or on Instagram, which feels most alive for me  – @shivangivasudeva_ . I also exhibit throughout the year, where the pieces can be experienced in person.\u003Cbr \u002F>\nI share updates through a quarterly newsletter – just four thoughtful emails a year, reflecting the same slow, intentional pace as the craft itself. If you’d like to stay connected, you’re very welcome to subscribe.\u003C\u002Fp>\n",{"_type":6,"_id":13739,"slug":13740,"name":13741,"index":133,"date":13742,"thumbnails":13743,"description":18,"footerImage":13752,"categories":13754,"sections":13756},2098,"quentin-vuong","Quentin Vuong","2025-11-30",{"quote":13744,"main":13745,"secondary":13749,"reverse":24},"\u003Cp>“For a piece to become a visual trap, it needs to surprise, question, and invite touch…”\u003C\u002Fp>\n",{"image":13746,"background":137,"fit":139},{"_id":13747,"url":13748,"alt":18,"caption":18,"credit":18,"width":11186,"height":4112},2835,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F110-head.jpg",{"image":13750,"background":21,"fit":22},{"_id":7634,"url":13751,"alt":18,"caption":18,"credit":18,"width":10626,"height":6100},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FScreenshot-2025-12-04-at-16.46.23.jpg",{"_id":7531,"url":13753,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-25.jpg",[13755],{"_id":33,"slug":34,"name":35},[13757,13761,13765,13773,13778,13786,13791,13799,13804,13812,13817,13822,13827,13832,13837,13842,13847,13851,13856,13861],{"questions":13758,"_type":45},[13759],{"question":11668,"answer":13760},"\u003Cp>My name is Quentin Vuong, and I am based in Paris. I work at Villa Belleville, where I create furniture and objects presented at Spazio Nobile in Brussels and Galerie Gastou in Paris. I am also developing several projects in Vietnam, spanning furniture and interior architecture, which I hope will allow me to spend more time there.\u003C\u002Fp>\n",{"questions":13762,"_type":45},[13763],{"question":3060,"answer":13764},"\u003Cp>Attentive observation is central to my practice. I collect the world as I move through it: the grain of stone, the sheen of metal, textures shaped by weather and time. I photograph these moments, translate them into sketches, experiment in the studio, and let them grow into a series of objects. Guided by light and texture, I work with self-taught techniques such as woodwork, gilding, and mother-of-pearl inlay. Each piece is shaped by hand until it carries its own presence and a quiet, refined sense of luxury.\u003C\u002Fp>\n",{"variant":1116,"images":13766,"_type":73},[13767,13770],{"_id":13768,"url":13769,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2101,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-22.jpg",{"_id":13771,"url":13772,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2102,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-24.jpg",{"questions":13774,"_type":45},[13775],{"question":13776,"answer":13777},"\u003Cp>How did you first begin working with material?\u003C\u002Fp>\n","\u003Cp>I have always been drawn to working with my hands, but it was at École Nationale des Arts Décoratifs de Paris that I truly engaged with materials and workshop tools. My French great-grandmother had studied at the same school, and through a few of her objects, along with family heirlooms from Vietnam, I developed an early sensitivity to materiality and form. It might have been eggshell lacquerware, ceramics, or heavy carved wood chairs. After several professional experiences, I realised how much I missed that tactile dimension. So I went all in. Today, being in the studio feels exactly right.\u003C\u002Fp>\n",{"variant":1179,"images":13779,"_type":73},[13780,13783],{"_id":13781,"url":13782,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2103,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-24.jpg",{"_id":13784,"url":13785,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2104,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-23.jpg",{"questions":13787,"_type":45},[13788],{"question":13789,"answer":13790},"\u003Cp>Your work rejects immediacy and favors a slower pace. What inspired you to think about creating this way?\u003C\u002Fp>\n","\u003Cp>In the past, I was designing fashion shows for a production company, and the rhythm of that work never felt right. Everything was urgent, everything rushed. In my studio, the pace is slow by necessity and by choice. The materials and finishes I favor come from the world of craftsmanship, and they require time, space to learn, experiment, and even make mistakes. My approach is also a reaction to our daily life, where we are constantly pulled in multiple directions, surrounded by curated images and endless information. Through the objects, I want to create a pause, a chance to look, touch, and appreciate what surrounds us.\u003C\u002Fp>\n",{"variant":1179,"images":13792,"_type":73},[13793,13796],{"_id":13794,"url":13795,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2105,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-24.jpg",{"_id":13797,"url":13798,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2106,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-23.jpg",{"questions":13800,"_type":45},[13801],{"question":13802,"answer":13803},"\u003Cp>You describe your pieces as “visual traps” What qualities do you believe makes the gaze linger rather than move away?\u003C\u002Fp>\n","\u003Cp>For a piece to become a visual trap, it needs to surprise, question, and invite touch. I play with materials, techniques, and textures applied to simple shapes. A piece should look elegant from afar, and as the viewer approaches, reveal more refined details. Often, a work appears to be solid metal but is actually made of a thin layer of precious alloy, as in the Mercure collection. This subtle deception reveals the gestures of the hand and the small imperfections that give the piece its soul. I also believe an object must interact with its environment. Sunlight, the tones of a room, and nearby objects all shape perception, and each piece transforms depending on where it is placed.\u003C\u002Fp>\n",{"variant":1116,"images":13805,"_type":73},[13806,13809],{"_id":13807,"url":13808,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2107,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-23.jpg",{"_id":13810,"url":13811,"alt":18,"caption":18,"credit":18,"width":2726,"height":5551},2108,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-22.jpg",{"questions":13813,"_type":45},[13814],{"question":13815,"answer":13816},"\u003Cp>Your work seeks to reveal beauty in ordinary phenomena. Are there details in your everyday life that consistently captures your attention?\u003C\u002Fp>\n","\u003Cp>I am constantly fascinated by the shapes water takes after a storm, depending on the surface it rests on. Fresh oily asphalt, cold metal tables in a garden, or benches in Parc des Buttes-Chaumont each create their own patterns. I have been drawn to these forms since childhood, doodling, connecting dots, and exploring their rhythms. This curiosity became the starting point for my After the Rain furniture collection, presented at Galerie Gastou in Paris last January. These natural phenomena are universal. We all understand them, yet sometimes we need to be reminded to pause and be amazed. I like the idea of bringing these moments, frozen in time, into our interiors. Tree bark is another constant source of inspiration. Lately, I have been paying attention to worn-out paint on different surfaces, which helps me consider how I want to introduce color. Until now, my work has been largely black and silver, which I love, but future projects will bring more color into the pieces.\u003C\u002Fp>\n",{"images":13818,"size":84,"_type":57},[13819],{"_id":13820,"url":13821,"alt":18,"caption":18,"credit":18,"width":8047,"height":1650},2109,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-21.jpg",{"questions":13823,"_type":45},[13824],{"question":13825,"answer":13826},"\u003Cp>You apply traditional craftsmanship to contemporary materials, has there ever been a moment when this didn’t work as planned, but unexpectedly reshaped your process for the better?\u003C\u002Fp>\n","\u003Cp>I experiment a lot in my workshop, which means I also fail a lot. But that’s simply part of developing my own “recipes,” my personal interpretation of traditional craftsmanship. Sometimes I need to invent specific tools to achieve the right gesture or effect. I enjoy this alchemist side of my work, even if it comes with\u003Cbr \u002F>\nplenty of frustration. Over time, I feel I’m constantly refining my processes. I look for clues and answers everywhere: car-polishing tutorial videos sit next to old gilding manuals, and long conversations in the back of my supplier’s shop often teach me as much as any book.\u003C\u002Fp>\n",{"images":13828,"size":56,"_type":57},[13829],{"_id":13830,"url":13831,"alt":18,"caption":18,"credit":18,"width":8047,"height":1650},2110,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-16.jpg",{"questions":13833,"_type":45},[13834],{"question":13835,"answer":13836},"\u003Cp>In many of your projects, reflective, mirror like surfaces alter the viewer’s image, what interests you about making the viewer part of the object?\u003C\u002Fp>\n","\u003Cp>In architecture, a window frames the passage of time; mirrors can do something similar. Take the Mercure collection, presented at Spazio Nobile. It draws inspiration from the earliest mirror objects, when reflections appeared in polished metal surfaces. The image was never perfect, only fleeting and poetic. Before that, reflections were seen in water or polished stones like obsidian. Later, Murano craftsmen, inspired by ancient Chinese mercury and silver mirrors, developed their own mirrored glass. By the 16th century, mercury gilding led to true glass mirrors, culminating in the Hall of Mirrors at Versailles, a symbol of absolute luxury. It was not until the 19th century that mirrors became common, creating a daily encounter with our own image.\u003Cbr \u002F>\nMy mirrors return to a time when reflection was subtle, not absolute. Their softened, curved surfaces loosen the strictness of industrial glass. Up close, we see our image on the surface, but from a distance, the mirrors bend space and reflect the surrounding light and tones. In this way, they act like windows, creating a moving painting of time passing.\u003C\u002Fp>\n",{"images":13838,"size":56,"_type":57},[13839],{"_id":13840,"url":13841,"alt":18,"caption":18,"credit":18,"width":185,"height":1650},2111,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-12.jpg",{"questions":13843,"_type":45},[13844],{"question":13845,"answer":13846},"\u003Cp>What does it mean, today, to make objects that are meant to endure and be passed on?\u003C\u002Fp>\n","\u003Cp>That is a difficult question, and I don’t have a recipe. Only time will prove whether an object endures. For me, it means finding a balance between simple shapes, high-quality materials, and craftsmanship. I pay close attention to details such as choosing the right wood joinery and using glued connections rather than screws. I also try to keep my work outside of trends, though perhaps I lack the distance to judge that fully. I am convinced that the more they develop patina, the more they gain character and preciousness, carrying the story of time within them. I hope\u003Cbr \u002F>\nmy pieces will be able to live alongside the objects of tomorrow, from different styles and eras, in future spaces designed by architects.\u003C\u002Fp>\n",{"images":13848,"size":56,"_type":57},[13849],{"_id":3525,"url":13850,"alt":18,"caption":18,"credit":18,"width":7520,"height":1650},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-8.jpg",{"questions":13852,"_type":45},[13853],{"question":13854,"answer":13855},"\u003Cp>If your work could teach us one way of relating differently to the objects we surround ourselves with, what would that be?\u003C\u002Fp>\n","\u003Cp>As my great-grandmother used to say, less objects but of better quality and diversity. We all have our own relationships with the things that surround us, seeing different stories and messages in them. I hope my work can encourage a deeper appreciation of craftsmanship, and nurture our attention to objects made by hand, imbued with emotion and care.\u003C\u002Fp>\n",{"images":13857,"size":56,"_type":57},[13858],{"_id":13859,"url":13860,"alt":18,"caption":18,"credit":18,"width":7520,"height":1650},2113,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-4.jpg",{"questions":13862,"_type":45},[13863],{"question":638,"answer":13864},"\u003Cp>You can visit me physically in my workshop at Villa Belleville, in the 20th arrondissement of Paris. My solo show Mercure: Alchemy of Wood and Light is on view at Spazio Nobile in Brussels until January 18, 2026. The After the Rain collection will be presented at Design Miami 2025 with Galerie Gastou, with whom I collaborate in Paris. In Vietnam, my work can be seen at Galerie Medium in Hô Chi Minh City.\u003Cbr \u002F>\nFor a full overview, you can explore my new website, \u003Ca href=\"http:\u002F\u002Fwww.quentinvuong.com\">www.quentinvuong.com\u003C\u002Fa>, designed by Lara Zettl and Elena Rudolph, or follow me on Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fquentinvuong\u002F?g=5\">@quentinvuong\u003C\u002Fa>.\u003C\u002Fp>\n",{"_type":6,"_id":8868,"slug":13866,"name":13867,"index":179,"date":13868,"thumbnails":13869,"description":18,"footerImage":13876,"categories":13879,"sections":13881},"jean-baptiste-durand","Jean-Baptiste Durand","2025-12-04",{"quote":13870,"main":13871,"secondary":13875,"reverse":24},"\u003Cp>“When I realized I wasn’t nearly brave enough to ride a motorbike, I told myself I’d draw them instead!”\u003C\u002Fp>\n",{"image":13872,"background":21,"fit":22},{"_id":13873,"url":13874,"alt":18,"caption":18,"credit":18,"width":653,"height":7569},2119,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-24.jpg",{"image":24,"background":21,"fit":22},{"_id":13877,"url":13878,"alt":18,"caption":18,"credit":18,"width":653,"height":357},2120,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-26.jpg",[13880],{"_id":127,"slug":146,"name":147},[13882,13886,13890,13899,13904,13912,13917,13925,13930,13938,13943,13948,13953,13958,13963,13970,13975,13980,13985,13993,13998,14003],{"questions":13883,"_type":45},[13884],{"question":1766,"answer":13885},"\u003Cp>My name is Jean-Baptiste Durand, and I currently live in Paris. I grew up in the countryside near Bordeaux, before moving to the Fine Arts school in Saint-Étienne when I was 18.\u003C\u002Fp>\n",{"questions":13887,"_type":45},[13888],{"question":3060,"answer":13889},"\u003Cp>Even if some shapes inevitably repeat themselves — a kind of coherence — I try not to have a predetermined practice. In fact, I try not to be able to answer this question in a general way haha!\u003Cbr \u002F>\nOtherwise, it would mean applying some kind of a pattern that keeps repeating and would make me go in circles.\u003Cbr \u002F>\nI try to adapt and bring something new depending on the projects, even the ones I initiate.\u003C\u002Fp>\n",{"variant":1179,"images":13891,"_type":73},[13892,13896],{"_id":13893,"url":13894,"alt":18,"caption":18,"credit":18,"width":13895,"height":11813},2121,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-25.jpg",1416,{"_id":13897,"url":13898,"alt":18,"caption":18,"credit":18,"width":13895,"height":11813},2122,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-25.jpg",{"questions":13900,"_type":45},[13901],{"question":13902,"answer":13903},"\u003Cp>Do you remember the first object you ever made?\u003C\u002Fp>\n","\u003Cp>I think the first object I ever created must have been absolutely terrible haha! It took me a while to understand what was at stake in design. But I remember an anecdote that’s rather flattering for me, and a bit funny: In kindergarten, there was a little drawing contest and my twin brother won. And actually, I got eliminated because the teacher thought an adult had made my drawing. I had drawn my mother’s car haha It pushed me quite early toward a “creative” path.\u003C\u002Fp>\n\u003Cp>I think that after that, maybe the first object I made was some sort of companion dummy for lonely people. It looked like a shop mannequin that you would sit at a table and it would “talk” to you to make you feel not alone even if you are… 15 years before ChatGPT, I’d like to point out haha.\u003C\u002Fp>\n\u003Cp>It was art school — the good old days haha.\u003C\u002Fp>\n",{"variant":1179,"images":13905,"_type":73},[13906,13909],{"_id":13907,"url":13908,"alt":18,"caption":18,"credit":18,"width":8932,"height":6246},2123,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-24.jpg",{"_id":13910,"url":13911,"alt":18,"caption":18,"credit":18,"width":8932,"height":6246},2124,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-25.jpg",{"questions":13913,"_type":45},[13914],{"question":13915,"answer":13916},"\u003Cp>What first drew you toward ceramics, and what did this open up for you?\u003C\u002Fp>\n","\u003Cp>Actually, I didn’t like ceramics in the beginning. We had decided to open a workshop with my girlfriend, where she would give classes and where we would produce pieces. I was just there to help out. And gradually I started discovering certain techniques, material properties, etc. For example, that you could melt earthenware onto stoneware — I found that crazy haha!\u003C\u002Fp>\n",{"variant":1116,"images":13918,"_type":73},[13919,13922],{"_id":13920,"url":13921,"alt":18,"caption":18,"credit":18,"width":357,"height":888},2125,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FP1040579.jpg",{"_id":13923,"url":13924,"alt":18,"caption":18,"credit":18,"width":357,"height":888},2126,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FP1040582.jpg",{"questions":13926,"_type":45},[13927],{"question":13928,"answer":13929},"\u003Cp>What made you begin using industrial and technological materials in your work and what do they represent for you?\u003C\u002Fp>\n","\u003Cp>That was another step in my practice… I think it had always been there: a sort of taste for certain aesthetics, industrial objects, super functional, vernacular… But it didn’t really show in what I was making. And then I met Simon Geringer — I loved what he was doing — and it kind of set me free. I told myself, “wait, all these things you secretly love, use them, make something out of them.”\u003C\u002Fp>\n\u003Cp>It really materialized for the first time when I went to Collectible fair with those chairs inspired by motorsports. And in a way it closed a loop, because one of the reasons I became a designer in the first place was motorsports. I had a half-brother, an reckless biker, who always had different motorcycles. I watched a lot of competitions on TV, I was always drawing cars… When I realized I wasn’t nearly brave enough to ride a motorbike, I told myself I’d draw them instead!\u003C\u002Fp>\n",{"variant":1116,"images":13931,"_type":73},[13932,13935],{"_id":13933,"url":13934,"alt":18,"caption":18,"credit":18,"width":6008,"height":11325},2127,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-24.jpg",{"_id":13936,"url":13937,"alt":18,"caption":18,"credit":18,"width":6008,"height":11325},2128,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-24.jpg",{"questions":13939,"_type":45},[13940],{"question":13941,"answer":13942},"\u003Cp>What usually sparks the idea for a new piece?\u003C\u002Fp>\n","\u003Cp>I’m carried by the gods… haha\u003C\u002Fp>\n",{"images":13944,"size":56,"_type":57},[13945],{"_id":13946,"url":13947,"alt":18,"caption":18,"credit":18,"width":7348,"height":11325},2129,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-23.jpg",{"questions":13949,"_type":45},[13950],{"question":13951,"answer":13952},"\u003Cp>You describe your process as a kind of “sampling,” bringing together ancestral and technological craftsmanship. Is there a specific piece that represents that combination most for you?\u003C\u002Fp>\n","\u003Cp>If we’re talking about combining traditional know-how with more technological elements, I’d say there’s this suspension piece, part of the Dystopian Remains series.\u003C\u002Fp>\n\u003Cp>That’s really the principle of these pieces that come from a dystopian future in which, having exhausted fossil resources, humans would be composing with leftover technologies and a return to ancestral craft techniques.\u003C\u002Fp>\n",{"images":13954,"size":56,"_type":57},[13955],{"_id":13956,"url":13957,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},2130,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-22.jpg",{"questions":13959,"_type":45},[13960],{"question":13961,"answer":13962},"\u003Cp>In your process material guides you rather than forcing control. In that case, the control lies in choosing the material. What kind of material tends to catch your attention?\u003C\u002Fp>\n","\u003Cp>Hmm… Hard to say. I try to always stay alert, and I think it varies depending on the moment. Right now I’d say I’m drawn to materials with roughness, some form of imperfection. But it changes all the time. I actually try to let myself be carried along by what I see!\u003C\u002Fp>\n",{"variant":1179,"images":13964,"_type":73},[13965,13968],{"_id":13966,"url":13967,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},2131,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-17.jpg",{"_id":4347,"url":13969,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-13.jpg",{"questions":13971,"_type":45},[13972],{"question":13973,"answer":13974},"\u003Cp>Many of your materials seem to have once served a specific purpose. When you reassemble them, do you think of it as removing their original function or transforming it into something else?\u003C\u002Fp>\n","\u003Cp>If I understand the question correctly, actually it’s the opposite haha! I don’t use materials that have already been used. I draw and model everything I make. I need that — otherwise it’s too chaotic in my head! It gives me a thread, which I can improvise around if necessary. But there’s always a solid base!\u003C\u002Fp>\n",{"images":13976,"size":56,"_type":57},[13977],{"_id":13978,"url":13979,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},2133,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-9.jpg",{"questions":13981,"_type":45},[13982],{"question":13983,"answer":13984},"\u003Cp>Do you think using recognizable materials allows the viewer to see something familiar in your work?\u003C\u002Fp>\n","\u003Cp>Maybe that’s the benefit of that slightly pop aspect. But I try not to think about what the viewer is going to think… That’s way too vertiginous! If I think about it, I freeze haha\u003C\u002Fp>\n",{"variant":1116,"images":13986,"_type":73},[13987,13990],{"_id":13988,"url":13989,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},2134,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-5.jpg",{"_id":13991,"url":13992,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},2135,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16-2.jpg",{"questions":13994,"_type":45},[13995],{"question":13996,"answer":13997},"\u003Cp>You moved from ceramics to futuristic, almost tech driven pieces. Do you see a next phase or another direction in your exploration of objects?\u003C\u002Fp>\n","\u003Cp>Right now, I’m trying to think about installations that speak of comfort and calm. To make something very soothing without necessarily looking like it. It could take several forms… It’s still in the works. My goal is to show things during the next Milan Design Week.\u003C\u002Fp>\n",{"images":13999,"size":56,"_type":57},[14000],{"_id":14001,"url":14002,"alt":18,"caption":18,"credit":18,"width":12343,"height":1790},2136,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FFACE-NORD-photo-Gregory-Copitet-2-scaled.jpg",{"questions":14004,"_type":45},[14005],{"question":638,"answer":14006},"\u003Cp>I work just outside of Paris, and I try to stay generally available. I do answer messages on social networks of course. Well, I’ll admit I currently have a small pile of emails stacking up — I fell a bit behind. But it feels important to remain open when possible.\u003C\u002Fp>\n\u003Cp>When a student wants to talk to me, for example, I try to make time and be as helpful as I can, being honest about the joys and difficulties that come with my situation.\u003C\u002Fp>\n\u003Cp>In a way, I hope that one day I won’t have time anymore — that would mean I’ve made it haha — but for now, I still can!\u003C\u002Fp>\n",{"_type":6,"_id":14008,"slug":14009,"name":14010,"index":182,"date":14011,"thumbnails":14012,"description":18,"footerImage":14019,"categories":14021,"sections":14023},2138,"salmah-almansoori","Salmah Almansoori","2025-12-08",{"quote":14013,"main":14014,"secondary":14018,"reverse":24},"\u003Cp>”I am building my own archive of material and memory, but it is also a space where other people’s histories and perspectives can exist alongside mine.”\u003C\u002Fp>\n",{"image":14015,"background":21,"fit":22},{"_id":14016,"url":14017,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},2139,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-25.jpg",{"image":24,"background":21,"fit":22},{"_id":1445,"url":14020,"alt":18,"caption":18,"credit":18,"width":7348,"height":11192},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-27.jpg",[14022],{"_id":127,"slug":146,"name":147},[14024,14028,14033,14038,14043,14048,14053,14058,14067,14072,14080,14085,14090,14095,14102,14107,14112,14117,14123],{"questions":14025,"_type":45},[14026],{"question":11668,"answer":14027},"\u003Cp>My name is Salmah Almansoori. I was born in Ghayathi, a small town in the Al Dhafra region of Abu Dhabi, and I am currently based in Abu Dhabi city.\u003C\u002Fp>\n",{"questions":14029,"_type":45},[14030],{"question":14031,"answer":14032},"\u003Cp>How would you describe what you do in just a few words?\u003C\u002Fp>\n","\u003Cp>I am a visual artist exploring memory, place, and identity through archiving and material-based research. My process-based practice spans painting, papermaking, sculpture, found objects, ceramics, photography, and video.\u003C\u002Fp>\n",{"questions":14034,"_type":45},[14035],{"question":14036,"answer":14037},"\u003Cp>Your work is deeply inspired by your hometown of Ghayathi. Is there a moment or object from there that you often return to in your work—whether as inspiration or depiction?\u003C\u002Fp>\n","\u003Cp>One of the things I keep returning to is the visual research I have done on objects left behind in the desert, traces of how people once inhabited and interacted with this landscape. Each object carries a story, whether linked to survival practices, seasonal rituals, or moments after the rain. Many of these rituals, and the objects tied to them, connect back to the origins of Ghayathi’s name. When a source of groundwater was found in the area, it was reported to the president at the time, and the town was named after “Ghaith,” meaning grace and sustenance for the Bedouins. For me, one item can open a whole narrative about why people chose to inhabit this land, the ways they adapted to it, and how water systems shaped their lives. While today some of these practices are remembered in a more romanticized way, they were once deeply rooted in daily life and survival.\u003C\u002Fp>\n",{"images":14039,"size":84,"_type":57},[14040],{"_id":14041,"url":14042,"alt":18,"caption":18,"credit":18,"width":1790,"height":2942},2141,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-23-scaled.jpg",{"questions":14044,"_type":45},[14045],{"question":14046,"answer":14047},"\u003Cp>How do you approach collecting and documenting objects from places? Can you walk us through your typical process?\u003C\u002Fp>\n","\u003Cp>I usually begin with walking, whether through the landscape, abandoned sites, or the streets of the city, using my body and simple tools to collect fragments that speak to me. These could be found objects, photographs, voice recordings, video footage, materials, or discarded items. I try to document as much as I can, especially when it comes to the visual documentation of places, areas, and spaces. When it comes to objects, I often photograph them in their original settings, note their location which is usually saved on my phone, and try to record any stories connected to them. Sometimes I do not have a direct story, but I form my own speculations or questions around them. Back in the studio, I experiment with how these materials or objects, whether photographs, recordings, or physical items, can be transformed, whether as inspiration for a painting or sculpture, or as raw material for papermaking and three-dimensional works.\u003C\u002Fp>\n",{"images":14049,"size":84,"_type":57},[14050],{"_id":14051,"url":14052,"alt":18,"caption":18,"credit":18,"width":1790,"height":2952},2142,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-26-scaled.jpg",{"questions":14054,"_type":45},[14055],{"question":14056,"answer":14057},"\u003Cp>What’s something about Ghayathi or Bedouin heritage you wish more people understood or appreciated?\u003C\u002Fp>\n","\u003Cp>I wish more people understood that places like Ghayathi, small cities surrounded by the desert, are not accidents of geography but intentional communities shaped by resourcefulness and resilience. It is not just about romanticizing desert life, it is about a deep connection to Bedouin heritage where survival meant reading the land, understanding water systems, and finding ways to live sustainably in an extreme climate. These practices are part of our cultural memory, yet they are often overlooked or fading in the face of modernization.\u003C\u002Fp>\n",{"variant":1116,"images":14059,"_type":73},[14060,14064],{"_id":14061,"url":14062,"alt":18,"caption":18,"credit":18,"width":9152,"height":14063},2143,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-26.jpg",2274,{"_id":14065,"url":14066,"alt":18,"caption":18,"credit":18,"width":9152,"height":14063},2144,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-25.jpg",{"questions":14068,"_type":45},[14069],{"question":14070,"answer":14071},"\u003Cp>When working with a place that’s so personal to you, do you feel a responsibility in how you represent it? Or do you believe everyone’s connection to a place is shaped solely by their own experience?\u003C\u002Fp>\n","\u003Cp>When it comes to Ghayathi, I do feel a responsibility, mainly because so much of its history is undocumented. My work does not aim to create a definitive or fact-checked narrative, it is my own narrative shaped by my personal frustrations, questions, and memories. Growing up, I often wondered why my family chose to settle in this particular town, and over time I have come to see the importance of preserving its fragments, stories, materials, and traces from the 18 years I lived there. While these fragments come from my experience, I open them for interpretation, knowing others may connect them to their own cities, whether in the UAE or elsewhere. In that way, I am building my own archive of material and memory, but it is also a space where other people’s histories and perspectives can exist alongside mine.\u003C\u002Fp>\n",{"variant":1116,"images":14073,"_type":73},[14074,14077],{"_id":14075,"url":14076,"alt":18,"caption":18,"credit":18,"width":10115,"height":14063},2145,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-26.jpg",{"_id":14078,"url":14079,"alt":18,"caption":18,"credit":18,"width":10115,"height":14063},2146,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-25.jpg",{"questions":14081,"_type":45},[14082],{"question":14083,"answer":14084},"\u003Cp>In your view, how are we an extension of the places we come from?\u003C\u002Fp>\n","\u003Cp>I believe every place we grow up in leaves an imprint on who we are, whether in positive or challenging ways. Childhood experiences, both the everyday interactions and the significant moments, shape how we inhabit and interact with places, and how we form memories within them. This ties into attachment theory, where the people, spaces, and landscapes we are connected to become part of our identity. I often think about how life would feel entirely different without certain experiences tied to a specific place. For me, growing up in Ghayathi left a deep mark, it is an extension of me. The desert’s rhythms, the town’s scale, and the relationships built there have all shaped my patience, sensitivity, and the way I approach making, even when I am far away.\u003C\u002Fp>\n",{"images":14086,"size":84,"_type":57},[14087],{"_id":14088,"url":14089,"alt":18,"caption":18,"credit":18,"width":10115,"height":6935},2147,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-25.jpg",{"questions":14091,"_type":45},[14092],{"question":14093,"answer":14094},"\u003Cp>How do you respond to the loss of identity through modernization in your work? Can you refer to any specific pieces?\u003C\u002Fp>\n","\u003Cp>A large part of my practice is dedicated to documenting the spaces in Ghayathi that have been reshaped or erased by modernization. I have recorded the first housing systems, soon-to-be demolished buildings, and architectural elements that once defined the town. In Tracing What Remains and my watercolor series I Reminisce in Colours, I have documented abandoned spaces and found objects as a way of preserving them before they disappear. My most recent sculptural project, Testimony of a City, focuses on tracing the ornamental details and architectural forms unique to Ghayathi’s history, details that are increasingly absent in new, minimalist housing developments. These sculptures bridge past and present, honoring the resilience of the town’s heritage while acknowledging its transformation. Whether through painting, papermaking, or sculpture, my process becomes an act of preservation, resisting the erasure of memory by holding onto what remains.\u003C\u002Fp>\n",{"variant":1116,"images":14096,"_type":73},[14097,14099],{"_id":11424,"url":14098,"alt":18,"caption":18,"credit":18,"width":9766,"height":8033},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-24.jpg",{"_id":14100,"url":14101,"alt":18,"caption":18,"credit":18,"width":9766,"height":8033},2149,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-23.jpg",{"questions":14103,"_type":45},[14104],{"question":14105,"answer":14106},"\u003Cp>In your experience, can a place evolve without losing its essence, or is something always left behind—whether in its people, land, or memory?\u003C\u002Fp>\n","\u003Cp>I do not believe a city can evolve without losing some of its essence, especially when important elements that once played a central role in people’s lives are neglected or discarded. In Ghayathi, I have seen how modernization often leaves behind stories, spaces, and details that were once integral to daily life. Without deliberate efforts to document and preserve them, these traces risk being forgotten entirely. Part of my role is to archive what is happening now, the housing systems, the overlooked objects, the oral histories I hear around me. I think about how, in 50 or 100 years, without this kind of record, people may have no sense of how the city evolved. Modern life brings change, but if no one carries these memories, of its people, land, and lived experiences, the essence of the place will fade.\u003C\u002Fp>\n",{"images":14108,"size":84,"_type":57},[14109],{"_id":1777,"url":14110,"alt":18,"caption":18,"credit":18,"width":4776,"height":14111},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002Ffiretticontemporary-salmah-almansoori-tracing-what-remains-03-2025.png.webp",642,{"questions":14113,"_type":45},[14114],{"question":14115,"answer":14116},"\u003Cp>Is there another feeling or experience you’re curious to explore in your future projects?\u003C\u002Fp>\n","\u003Cp>Yes, I want to explore speculative futures for places like Ghayathi. Not just recording what is there now or what has been lost, but imagining how it could evolve if heritage, ecology, and community memory guided its future.\u003C\u002Fp>\n",{"images":14118,"size":84,"_type":57},[14119],{"_id":14120,"url":14121,"alt":18,"caption":18,"credit":18,"width":9766,"height":14122},2151,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-18.jpg",1034,{"questions":14124,"_type":45},[14125],{"question":638,"answer":14126},"\u003Cp>My studio is currently located at the National Theatre in Abu Dhabi. Feel free to DM me if you’d like to visit. You can also find me on Instagram at @visualsalmah, and view my work in person at @firetti.contemporary\u003C\u002Fp>\n",{"_type":6,"_id":3478,"slug":14128,"name":14129,"index":220,"date":14130,"thumbnails":14131,"description":18,"footerImage":14138,"categories":14141,"sections":14143},"yann-militon","Yann Militon","2025-12-13",{"quote":14132,"main":14133,"secondary":14137,"reverse":24},"\u003Cp>“I like  when an image shifts between tenderness  and tension, when something familiar starts  to feel strange.”\u003C\u002Fp>\n",{"image":14134,"background":21,"fit":139},{"_id":6642,"url":14135,"alt":18,"caption":18,"credit":18,"width":1896,"height":14136},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-26.jpg",2477,{"image":24,"background":21,"fit":22},{"_id":12337,"url":14139,"alt":18,"caption":18,"credit":18,"width":11582,"height":14140},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-28.jpg",2233,[14142],{"_id":1739,"slug":7913,"name":7914},[14144,14149,14154,14158,14163,14168,14173,14178,14183,14188,14193,14197,14202,14207,14212,14217,14222,14226],{"questions":14145,"_type":45},[14146],{"question":14147,"answer":14148},"\u003Cp>What’s your name and where are  you from\u002Fbased?\u003C\u002Fp>\n","\u003Cp>My name is Yann Militon. I grew up in the  South of France and I’m now based in Paris.\u003C\u002Fp>\n",{"questions":14150,"_type":45},[14151],{"question":14152,"answer":14153},"\u003Cp>Can you describe your practice  in a few words?\u003C\u002Fp>\n","\u003Cp>My work moves between still life, beauty and  fashion, trying to reveal traces, gestures and  tensions through light and matter. I explore  how bodies and objects can become  landscapes.\u003C\u002Fp>\n",{"images":14155,"size":84,"_type":57},[14156],{"_id":4055,"url":14157,"alt":18,"caption":18,"credit":18,"width":1896,"height":5950},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-24.jpg",{"questions":14159,"_type":45},[14160],{"question":14161,"answer":14162},"\u003Cp>You grew up in the landscapes of  the south of France, what early  experiences shaped your artistic  vision?\u003C\u002Fp>\n","\u003Cp>Growing up in the south meant being  surrounded by slow, open landscapes. The  light there is slow, horizontal, almost  sculptural. Everything felt still: the rocks, the  heat, the silence. I think I learned to look  before I learned to photograph. Those  textures, those long summers, the dryness,  the brightness, they formed my instinct for  observing surfaces and small details.\u003C\u002Fp>\n",{"images":14164,"size":84,"_type":57},[14165],{"_id":14166,"url":14167,"alt":18,"caption":18,"credit":18,"width":1896,"height":5950},2157,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-27.jpg",{"questions":14169,"_type":45},[14170],{"question":14171,"answer":14172},"\u003Cp>You later moved to Paris’s  intensity, describing it as nourishing  yet unsettling, how does this  contrast influence you?\u003C\u002Fp>\n","\u003Cp>Paris brought a completely different rhythm.  It’s dense, fast, overwhelming at times, but I  realized that this tension was also  nourishing. I think my work sits between  these two worlds: the calm of my childhood  and the tension of the city. One gives me  slowness, the other gives me pressure.  Together they shape the way I look and the  way I compose images. I need both.\u003C\u002Fp>\n",{"images":14174,"size":84,"_type":57},[14175],{"_id":14176,"url":14177,"alt":18,"caption":18,"credit":18,"width":8047,"height":5950},2158,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-27.jpg",{"questions":14179,"_type":45},[14180],{"question":14181,"answer":14182},"\u003Cp>Do you notice recurring subjects  or themes you’re drawn to in your  photography?\u003C\u002Fp>\n","\u003Cp>I often return to the idea of traces. What  time leaves behind, what gestures inscribe,  bodies that turn into shapes, what the body  or an object carries without showing it  directly. I’m also drawn to contradictions:  softness and pressure, beauty and  discomfort, presence and absence. I like  when an image shifts between tenderness  and tension, when something familiar starts  to feel strange.\u003C\u002Fp>\n",{"images":14184,"size":84,"_type":57},[14185],{"_id":14186,"url":14187,"alt":18,"caption":18,"credit":18,"width":8047,"height":12546},2159,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-26.jpg",{"questions":14189,"_type":45},[14190],{"question":14191,"answer":14192},"\u003Cp>In Réminiscences, you describe  memory as porous. What remains  when memories don’t form clear  images?\u003C\u002Fp>\n","\u003Cp>Certain memories stay fluid, unfinished,  almost like sensations. I rarely remember  things clearly, but I remember light, air,  textures, colors and atmospheres. I’m  interested in how memory doesn’t preserve,  but transforms. It shifts, it erodes, it  becomes something else. The series follows  that instability.\u003C\u002Fp>\n",{"images":14194,"size":84,"_type":57},[14195],{"_id":5645,"url":14196,"alt":18,"caption":18,"credit":18,"width":9363,"height":12546},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-27.jpg",{"questions":14198,"_type":45},[14199],{"question":14200,"answer":14201},"\u003Cp>It was photographed in Paros,  which slowed your vision. What  does slowness allow you to reveal?\u003C\u002Fp>\n","\u003Cp>Slowness allows space for details to appear,  for small things to become significant. When  time stretches, you see surfaces differently, you notice the erosion of a stone, the  vibration of light on water. It’s a way of  looking that doesn’t force anything. In Paros,  things felt quiet enough for objects to speak  on their own. Slowness reveals what only  appears when you look for a long time.\u003C\u002Fp>\n",{"images":14203,"size":84,"_type":57},[14204],{"_id":14205,"url":14206,"alt":18,"caption":18,"credit":18,"width":9363,"height":12546},2161,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-26.jpg",{"questions":14208,"_type":45},[14209],{"question":14210,"answer":14211},"\u003Cp>Pillow Talk explores intimacy  when faced with distance, a long distance relationship, however it  may be interpreted. Do you think  physical absence can sometimes  bring us closer? When communication tools like phones become the primary form of  connection?\u003C\u002Fp>\n","\u003Cp>I think distance changes the way intimacy is  experienced. When touch disappears, words  or voices become charged with meaning,  and attention becomes sharper. The body  becomes something imagined,\u003Cbr \u002F>\nreconstructed. In a way, absence forces us  to pay attention to what remains: tone,  hesitation, silence. It’s another kind of  closeness. Pillow Talk is about that tension:  desire traveling without touch, connection  shaped by sound, distance, and imagination.\u003C\u002Fp>\n",{"images":14213,"size":84,"_type":57},[14214],{"_id":14215,"url":14216,"alt":18,"caption":18,"credit":18,"width":8047,"height":12546},2162,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-26.jpg",{"questions":14218,"_type":45},[14219],{"question":14220,"answer":14221},"\u003Cp>How does Under Pressure change the way you think  about beauty?\u003C\u002Fp>\n","\u003Cp>Working on Under Pressure pushed me to  see beauty not as something polished, but  as something in tension. The skin becomes a  surface that reacts, holds weight, resists.  Beauty stops being decoration and becomes  matter, force, sometimes even discomfort.  It’s a more vulnerable way of looking.\u003C\u002Fp>\n",{"images":14223,"size":84,"_type":57},[14224],{"_id":69,"url":14225,"alt":18,"caption":18,"credit":18,"width":8047,"height":10661},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-25.jpg",{"questions":14227,"_type":45},[14228],{"question":638,"answer":14229},"\u003Cp>You can find me in Paris most of the time,  and also online:\u003Cbr \u002F>\nWebsite: \u003Ca href=\"http:\u002F\u002Fyannmiliton.com\">yannmiliton.com \u003C\u002Fa>\u003Cbr \u002F>\nInstagram: \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fyannmiliton\u002F?g=5\">@yannmiliton\u003C\u002Fa>\u003Cbr \u002F>\nUpcoming projects will also be shared there.\u003C\u002Fp>\n",{"_type":6,"_id":14231,"slug":14232,"name":14233,"index":199,"date":14234,"thumbnails":14235,"description":18,"footerImage":14242,"categories":14245,"sections":14247},2165,"water-with-water","Water With Water","2025-12-17",{"quote":14236,"main":14237,"secondary":14241,"reverse":24},"\u003Cp>“The name loops back on itself, much like our work often does.”\u003C\u002Fp>\n",{"image":14238,"background":21,"fit":22},{"_id":14239,"url":14240,"alt":18,"caption":18,"credit":18,"width":6149,"height":1265},2608,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002Fwater-with-water.jpg",{"image":24,"background":21,"fit":22},{"_id":14243,"url":14244,"alt":18,"caption":18,"credit":18,"width":12941,"height":10661},2167,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-29.jpg",[14246],{"_id":2399,"slug":8268,"name":8269},[14248,14253,14258,14264,14269,14277,14282,14286,14291,14299,14304,14309,14314,14319,14324,14329,14334,14339,14344,14349,14354,14359,14364,14368],{"questions":14249,"_type":45},[14250],{"question":14251,"answer":14252},"\u003Cp>What are your names, and where are you from\u002Fbased?\u003C\u002Fp>\n","\u003Cp>ND: Water With Water began as a collaboration between Sarah Elawad and me, Nathan Ross Davis. I’m from the U.S.A. and moved to Qatar in 2013, taking a job as a professor at Virginia Commonwealth University, School of the Arts in Qatar.\u003C\u002Fp>\n\u003Cp>Sarah, originally from Sudan, grew up in the UK and moved to Qatar for university, where we first began working together. She started as my research assistant and gradually became an integral creative partner until our work evolved into a shared practice. Sarah is now based in New York.\u003C\u002Fp>\n\u003Cp>Since then, we’ve collaborated with many talented people. Our current team includes Hagar Allam, an Egyptian raised in Doha; Ayatalla Mohamed, an Egyptian raised in the Gulf; and Sherifa Eletrebi, an Egyptian raised in Qatar. Samah Sulyman, a Palestinian raised in Qatar, has been a key part of the team, contributing to nearly every practical aspect of our work. Over the years, we’ve also worked with Sara AlAfifi, Amira Mohamed, Hadeer Omar, Reham Mohamed, Sara Shaaban, Eman Makki, and many others.\u003C\u002Fp>\n\u003Cp>We’ve done memorable projects with friends Michael Hersrud and Simone Muscolino at Sonic Jeel, and most of our collaborators come from the Virginia Commonwealth University alumni community. With the VCU campus established in Qatar since 1998, this network of creatives has been one of our most valuable resources.\u003C\u002Fp>\n",{"questions":14254,"_type":45},[14255],{"question":14256,"answer":14257},"\u003Cp>Can you describe what Water With Water does in a few words?\u003C\u002Fp>\n","\u003Cp>ND: We follow our creative instincts to make the things we want to see in the world. Most often, this takes the form of printed books, ephemera, merchandise, and apparel, though we also enjoy experimenting with other media and formats.\u003C\u002Fp>\n",{"images":14259,"size":56,"_type":57},[14260],{"_id":14261,"url":14262,"alt":18,"caption":18,"credit":18,"width":7571,"height":14263},2168,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-25.jpg",2393,{"questions":14265,"_type":45},[14266],{"question":14267,"answer":14268},"\u003Cp>What does the name Water with Water mean?\u003C\u002Fp>\n","\u003Cp>ND: The meaning depends on who you ask. The name comes from the Arabic saying “فسّر الماء بالماء,” which translates to “to explain water with water.” It’s usually used to describe circular reasoning—talking in circles without really saying anything.\u003C\u002Fp>\n\u003Cp>For us, it’s about recursion, reflection, and self-reference. The name loops back on itself, much like our work often does. Over the years, this question has led to conversations with people all over the world, each offering a different interpretation. We like that openness—it makes the name feel alive.\u003C\u002Fp>\n",{"variant":1116,"images":14270,"_type":73},[14271,14274],{"_id":14272,"url":14273,"alt":18,"caption":18,"credit":18,"width":11444,"height":5171},2169,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-28.jpg",{"_id":14275,"url":14276,"alt":18,"caption":18,"credit":18,"width":11444,"height":5171},2170,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-28.jpg",{"questions":14278,"_type":45},[14279],{"question":14280,"answer":14281},"\u003Cp>How do you see publishing as a form of visual research or cultural storytelling?\u003C\u002Fp>\n","\u003Cp>SE: A lot of our publications reference historical, vernacular, personal and contemporary visuals. Take our Strawberries Zine that is inspired by packages of gum often sold in the region, or The Gulf Between Us series that shares photography from different people that references the Gulf in some way, or our newspaper publications that are influenced by imagery and language from old classical children’s tales translated into Arabic.\u003C\u002Fp>\n\u003Cp>When it comes to cultural storytelling, all of our publications tell a story of some sort and attempt to capture small, meaningful slices of life in the region, such as sentimental family messages or regional language aesthetics. The Good Morning zine, composed of heartfelt greetings from family and friends, becomes a narrative about connection across communities.\u003C\u002Fp>\n\u003Cp>We also intentionally create limited-run editions of each publication which allows them to become a story that resists mass reproduction. Scarcity for us isn’t commercial—it’s cultural, sustaining novelty, significance, and attention.\u003C\u002Fp>\n\u003Cp>Water With Water is anchored in Doha yet resonates globally, our editions are found in New York, Berlin, Tokyo, Saudi Arabia, and more. This distribution weaves Qatar’s cultural rhythms into the broader international design-narrative landscape.\u003C\u002Fp>\n",{"images":14283,"size":84,"_type":57},[14284],{"_id":8820,"url":14285,"alt":18,"caption":18,"credit":18,"width":8102,"height":5171},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-27.jpg",{"questions":14287,"_type":45},[14288],{"question":14289,"answer":14290},"\u003Cp>Can you walk us through the process of making one of your publications, from concept to production?\u003C\u002Fp>\n","\u003Cp>SE: Let’s look at the process for The Gulf Between Us’s first edition. The idea came about after our joint interest in involving a wider audience and inviting new perspectives into our projects. We set up an open call to collect submissions of photographs with the prompt to send us images that were either taken in the Gulf or reminded people of the Gulf. This was one of the first projects we worked on together across continents, and so the technical side of designing the zine was a little more complicated. We worked in a single document, each of us taking turns to refine the layout concepts until we were both equally satisfied.\u003C\u002Fp>\n",{"variant":1179,"images":14292,"_type":73},[14293,14296],{"_id":14294,"url":14295,"alt":18,"caption":18,"credit":18,"width":8102,"height":5005},2172,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-28.jpg",{"_id":14297,"url":14298,"alt":18,"caption":18,"credit":18,"width":8102,"height":5005},2173,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-27.jpg",{"questions":14300,"_type":45},[14301],{"question":14302,"answer":14303},"\u003Cp>Your team and collaborators span different cities and disciplines, how do you maintain a shared vision across the distance?\u003C\u002Fp>\n","\u003Cp>ND: It can be tricky, so we stay flexible. As I’m writing this, I’m flashing back to countless conversations and deadlines. We’re fortunate to travel a lot, so we cross paths often, but it’s not quite the same as working side-by-side every day. Most of the time we work online—regular calls, shared files, ongoing chats—pretty much like most people do in other industries now.\u003C\u002Fp>\n\u003Cp>With Sarah, the vision doesn’t really need “maintaining”—it’s already there. Our work has a broad conceptual scope, and nothing feels off-limits. Visually, we have differences, but they collide and overlap in ways that feel natural. In fact, each of our projects on its own is stylistically unique. We don’t have a single, consistent style, but we do have a consistent vision—and somehow, the diversity of our work makes the collection as a whole feel stronger. It’s clear these pieces belong to the same practice, even though that cohesion happened more by accident than by design.\u003C\u002Fp>\n\u003Cp>These days, Sarah is busy with her own practice and commissions in New York, so naturally more of the day-to-day weight of W\u002FW\u002FW has shifted to me. It’s not a problem—it feels like a natural evolution—and when we do come together, the creative chemistry is still there.\u003C\u002Fp>\n\u003Cp>For other collaborators, we meet regularly and work closely. Almost every project has significant creative contributions from either Sarah or myself, which helps keep a throughline in the work. One of our goals is to give younger creatives the chance to make work they’ve never had the opportunity—or training—to do. We support them in a truly collaborative way, and I think that’s part of why they choose to work with us.\u003C\u002Fp>\n\u003Cp>Over time, we’ve seen our teammates grow more independent, which is exciting. It’s still a delicate stage, but with the right support, it could evolve into more of a collective practice rather than just a partnership between Sarah and me. We’d love to see the team develop their own projects and bring them to life. We’re in a good place right now, and we’re grateful for the people we’re working with.\u003C\u002Fp>\n",{"images":14305,"size":84,"_type":57},[14306],{"_id":14307,"url":14308,"alt":18,"caption":18,"credit":18,"width":8102,"height":5005},2174,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-26.jpg",{"questions":14310,"_type":45},[14311],{"question":14312,"answer":14313},"\u003Cp>How did your Gulf context shape the way you approach design and print culture?\u003C\u002Fp>\n","\u003Cp>ND: This is an excellent question because, for both Sarah and me, moving to the Gulf upended our expectations. The region is a place of striking contrasts—extreme wealth alongside poverty, with most people coming from somewhere else in search of a better life. There’s a certain camaraderie in that shared experience, but also plenty of contradictions. Cultures exist side by side here—interacting, influencing each other, but not thoroughly blending. A great metaphor I heard was that it’s less like a smoothie and more like a mixed salad: each ingredient retains its character, and together they create something richer. Put it in a blender and you’d lose what makes it interesting.\u003C\u002Fp>\n\u003Cp>Sarah and I connected in part through our outsider perspectives. On paper, we couldn’t be more different—I was a middle-aged white American man with a family, she was a young Black British-Sudanese Muslim woman. Yet once we began working together, many preconceptions about identity and ideology fell away. We found the freedom to define our practice on our own terms. It’s been messy, full of evolutions, and has placed us both inside and outside various Gulf subcultures—sometimes in surprising ways.\u003C\u002Fp>\n\u003Cp>The Gulf’s constant shape-shifting, cultural juxtapositions, and diverse encounters create a space where creatives can thrive. There’s physical safety, and for many, some financial stability—but also the reminder that we are guests here, and circumstances can change quickly. It’s dynamic, it resists routine, and it keeps me aware of how much I still have to learn.\u003C\u002Fp>\n\u003Cp>When I arrived, I didn’t see much print culture—at least not the kind I loved: artist books, zines, unusual posters. In Qatar, there was little historical precedent for artistic printmaking. One of my first opportunities was a commission to design a publication for a biennial art and design conference at VCUarts Qatar. I used it as a chance to explore creative and cultural questions around print, representation, graphic language, and context—questions that have continued to shape our practice ever since.\u003C\u002Fp>\n",{"images":14315,"size":56,"_type":57},[14316],{"_id":14317,"url":14318,"alt":18,"caption":18,"credit":18,"width":5265,"height":8044},2175,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-24.jpg",{"questions":14320,"_type":45},[14321],{"question":14322,"answer":14323},"\u003Cp>You work across risograph, airbrush, screen printing, and more. How important is technique in your publications?\u003C\u002Fp>\n","\u003Cp>Us: Technique is hugely important to us—not in the sense of perfect mastery, but in how we choose and apply different tools. Many projects begin with a tool or process, and we find our way through making. We start by playing, experimenting, and testing, letting ideas emerge rather than forcing them in a set direction. This means we have plenty of loose ends, false starts, and unfinished projects, but it also keeps the work alive.\u003C\u002Fp>\n\u003Cp>We think of our practice as an art practice that uses the tools and media of design. Experimentation and play are forms of research. Art often draws on the subconscious and intuition, so too much preconception can be limiting. Design, by contrast, is about managing complexity toward a defined solution, with clear aims and criteria. In our work, we borrow from both approaches: open-ended exploration combined with a drive to refine and resolve.\u003C\u002Fp>\n\u003Cp>We deliberately inject complexity, unknowns, and new techniques to avoid leaning too heavily on our strengths. If we’re not learning something from a project, it’s time to move on. Mixing media, changing pace, and shifting workflows help us stay uncomfortable enough to grow. And yes, it also means making a lot of bad work along the way—because that’s often the only way to get to the work we truly love.\u003C\u002Fp>\n",{"images":14325,"size":84,"_type":57},[14326],{"_id":14327,"url":14328,"alt":18,"caption":18,"credit":18,"width":8102,"height":5005},2176,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-27.jpg",{"questions":14330,"_type":45},[14331],{"question":14332,"answer":14333},"\u003Cp>Many of your titles feel like personal references, or inside jokes, what role does intimacy play in the work?\u003C\u002Fp>\n","\u003Cp>ND: I’m glad you noticed—that’s true. Every project has a bigger story behind it. Sometimes we share that story, and sometimes we keep it to ourselves. We want people to connect with the work right away, but if they look closer or have more context, there’s more to discover.\u003C\u002Fp>\n\u003Cp>Our process is rooted in conversation. We talk about all kinds of things, and the zines or other pieces often become a place to put those ideas. Some projects are deeply personal, others less so—but even when they are, the viewer doesn’t need to know the backstory to enjoy or connect with the work.\u003C\u002Fp>\n",{"images":14335,"size":56,"_type":57},[14336],{"_id":14337,"url":14338,"alt":18,"caption":18,"credit":18,"width":7430,"height":3362},2177,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-19.jpg",{"questions":14340,"_type":45},[14341],{"question":14342,"answer":14343},"\u003Cp>Are there any projects that felt especially personal to members of the team? What made them meaningful?\u003C\u002Fp>\n","\u003Cp>ND: Honestly, many of our projects feel personal—it’s hard to name just one. Works like Orientalism Z to A, Empty Packages, and Save Me From What… all came from moments of conflict, uncertainty, or shared discovery. For me, the most meaningful projects are the ones that require a lot of conversation, honesty, and trust within the team.\u003C\u002Fp>\n\u003Cp>Most recently, I worked on Dream State, an A2 risograph zine that was deeply personal. It grew out of an ongoing conversation with a colleague about her mother’s experience of the afterlife—or a space between life and death. As our parents age, these topics come closer to home, and her story really stayed with me. I created the zine and surprised her with it when it was finished. It’s not a linear narrative but rather a series of fragments—capturing a moment in her family’s history and some of what she was processing at the time.\u003C\u002Fp>\n\u003Cp>Beyond the personal and emotional layers, Dream State was also a technical milestone for us. We printed it entirely in-house on Type Araby’s A2 riso printer—four colors, double-sided, 16 pages, in an edition of 150. The first 50 copies had holographic film on the covers, also done in-house. The project brought together so many of the techniques we’ve been refining: airbrushed illustrations (both freehand and stencil), Photoshop compositing, risograph printing, and heat-press vinyl. Pulling all of that together at that scale felt like a real achievement for our team.\u003C\u002Fp>\n",{"images":14345,"size":56,"_type":57},[14346],{"_id":14347,"url":14348,"alt":18,"caption":18,"credit":18,"width":7430,"height":3362},2178,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-14.jpg",{"questions":14350,"_type":45},[14351],{"question":14352,"answer":14353},"\u003Cp>What do you hope people experience or take away when they interact with something you’ve made?\u003C\u002Fp>\n","\u003Cp>Us: We draw on references from many places, techniques, and critiques, aiming for the work to feel both foreign and familiar, exotic and comforting. That paradox mirrors my own experience of living in the Gulf—alien and familiar, home and away at the same time. These ideas are personal to us, but we’re often surprised by how widely they resonate. We’ve seen people from across Asia, Europe, the Americas, and Africa—of different ages, religions, and worldviews—connect to our projects in their own ways. Once a piece leaves our hands, we hope it takes on new meaning for the person who lives with it.\u003C\u002Fp>\n",{"images":14355,"size":84,"_type":57},[14356],{"_id":14357,"url":14358,"alt":18,"caption":18,"credit":18,"width":7430,"height":3253},2179,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-10.jpg",{"questions":14360,"_type":45},[14361],{"question":14362,"answer":14363},"\u003Cp>If someone were new to Water With Water, which piece would you hand them first, and why?\u003C\u002Fp>\n","\u003Cp>ND: Good Morning is definitely on the “greatest hits” list—it’s accessible, fun, playful, and a strong reflection of who we are. After that, I’d hand someone any of our screen-printed zines—1001 Fantasy Pop Nights, Fate Lay in Wait, or Just Add Water. Each of these shows our commitment to craft, quality materials, and a strong physical and visual presence. Dream State, as I mentioned earlier, is another good choice—it brings together many of our formal and conceptual interests in one project. Sarah’s In the Bloom of Their Joy… is mega, and a good representation of her growth as a designer.\u003C\u002Fp>\n",{"images":14365,"size":84,"_type":57},[14366],{"_id":2499,"url":14367,"alt":18,"caption":18,"credit":18,"width":7673,"height":3253},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-6.jpg",{"questions":14369,"_type":45},[14370],{"question":638,"answer":14371},"\u003Cp>Our website is \u003Ca href=\"http:\u002F\u002Fwaterwithwater.com\">waterwithwater.com\u003C\u002Fa> and our Instagram is \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fwater.with.water\u002F?g=5\">@water.with.water\u003C\u002Fa>. In person, you can find our work at Printed Matter in New York, the Walker Art Center, and a handful of zine shops in Europe and Asia. For viewing, the most complete U.S. collections are at the New York Public Library and the Watson Library at the Met, with key pieces also at the Harvard Fine Arts Library, Yale School of Art Library, and ArtCenter in Pasadena. In the Gulf, the Jameel Arts Centre in Dubai holds a mostly complete collection, as does the Bayt Al Mamzar artist residency.\u003C\u002Fp>\n\u003Cp>For the full experience, come to Doha! We’re always open to studio visits. Our small studio is part of a larger shared space at VCUarts Qatar, within the Institute for Creative Research. It’s not epic, but it’s authentic—and you can also explore the other studios. Just send us a message and we’ll set something up.\u003C\u002Fp>\n",{"_type":6,"_id":14373,"slug":14374,"name":14375,"index":14376,"date":14377,"thumbnails":14378,"description":18,"footerImage":14386,"categories":14390,"sections":14392},2182,"jules-lobgeois","Jules Lobgeois",115,"2025-12-20",{"quote":14379,"main":14380,"secondary":14385,"reverse":24},"\u003Cp>“Discovering materials gradually drew me away from industrial design and toward shaping them…”\u003C\u002Fp>\n",{"image":14381,"background":21,"fit":56},{"_id":14382,"url":14383,"alt":18,"caption":18,"credit":14384,"width":13468,"height":7529},2189,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-29.jpg","La Lune Gallery",{"image":24,"background":21,"fit":22},{"_id":14387,"url":14388,"alt":18,"caption":18,"credit":14389,"width":3185,"height":7377},2184,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-30.jpg","Eugenie Touze",[14391],{"_id":33,"slug":34,"name":35},[14393,14397,14401,14406,14411,14415,14420,14425,14430,14435,14440,14448,14453,14457,14462,14470,14475,14480],{"questions":14394,"_type":45},[14395],{"question":1766,"answer":14396},"\u003Cp>My name is Jules Lobgeois. I live and work in Normandy in Le Pays d’Ouche, an agricultural region bordered by forests not far from Perche and Calvados.\u003C\u002Fp>\n",{"questions":14398,"_type":45},[14399],{"question":3060,"answer":14400},"\u003Cp>My sculpting practice is characterized by a search for cohesion between materials that are complete opposites. An alliance between lightness and density.\u003C\u002Fp>\n",{"images":14402,"size":56,"_type":57},[14403],{"_id":14404,"url":14405,"alt":18,"caption":18,"credit":14384,"width":5816,"height":9826},2186,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F18122023-DSC09293-copie.jpg.avif",{"questions":14407,"_type":45},[14408],{"question":14409,"answer":14410},"\u003Cp>How did design first enter your life?\u003C\u002Fp>\n","\u003Cp>Since childhood, I have always been passionate about drawing, especially cars. It was this passion for the search for harmonious and fluid lines, which is at the heart of automotive design, that opened the door to design in general for me.\u003C\u002Fp>\n",{"images":14412,"size":84,"_type":57},[14413],{"_id":6941,"url":14414,"alt":18,"caption":18,"credit":18,"width":3577,"height":5468},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-28.jpg",{"questions":14416,"_type":45},[14417],{"question":14418,"answer":14419},"\u003Cp>What led you from industrial design to sculpting objects?\u003C\u002Fp>\n","\u003Cp>Discovering materials gradually drew me away from industrial design and toward shaping them. And it was when I met Belgian artist Kaspar Hamacher and worked for him that my passion for sculpture was born.\u003C\u002Fp>\n",{"images":14421,"size":84,"_type":57},[14422],{"_id":14423,"url":14424,"alt":18,"caption":18,"credit":14389,"width":2967,"height":7529},2188,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-26.jpg",{"questions":14426,"_type":45},[14427],{"question":14428,"answer":14429},"\u003Cp>After working with both a metalworker and a cabinetmaker, you developed a deep connection to metal and wood. What fascinates you most about working with each?\u003C\u002Fp>\n","\u003Cp>I am passionate about woodworking because of its comprehensive and complete dimension. It is a way of life. Searching for wood, selecting it, transporting it, and storing it. Waiting several years then discovering what it contains : its nuances and flaws. Revealing it.\u003C\u002Fp>\n\u003Cp>Working with metal is very different. Its rigidity and the precision required to work with it make it a complicated material to transform. But it is this difficulty in giving it a sculptural dimension that makes it an interesting material to work with.\u003C\u002Fp>\n",{"images":14431,"size":84,"_type":57},[14432],{"_id":14433,"url":14434,"alt":18,"caption":18,"credit":14384,"width":2081,"height":5193},2183,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F44_atelier_juleslobgeois_photo_eugenietouze.jpg.avif",{"questions":14436,"_type":45},[14437],{"question":14438,"answer":14439},"\u003Cp>Do you remember the moment you realized this combination would become part of your design aesthetic?\u003C\u002Fp>\n","\u003Cp>It was when I created the first “Duramen” in 2021 that I felt for the first time that I had achieved the combination of wood and metal that I wanted to develop in my future creations.\u003C\u002Fp>\n",{"variant":176,"images":14441,"_type":73},[14442,14445],{"_id":14443,"url":14444,"alt":18,"caption":18,"credit":18,"width":7416,"height":12424},2190,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-29.jpg",{"_id":14446,"url":14447,"alt":18,"caption":18,"credit":18,"width":7416,"height":12424},2191,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-28.jpg",{"questions":14449,"_type":45},[14450],{"question":14451,"answer":14452},"\u003Cp>You use wood from fallen trees that you save and “waiting for the right moment” to use. What do you wait for?\u003C\u002Fp>\n","\u003Cp>I believe that every fallen tree has the perfect moment to reveal what it holds inside. So I wait until I have a project that fits perfectly before working on a piece of wood.\u003C\u002Fp>\n",{"images":14454,"size":84,"_type":57},[14455],{"_id":2718,"url":14456,"alt":18,"caption":18,"credit":14389,"width":7416,"height":12424},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-29.jpg",{"questions":14458,"_type":45},[14459],{"question":14460,"answer":14461},"\u003Cp>Outside of your practice, how important is the environment you surround yourself with?\u003C\u002Fp>\n","\u003Cp>Since moving to Normandy, where I bought a workshop and a traditional Norman house that I am renovating, as well as a large plot of land that I am landscaping by planting trees, I have realized that being close to this environment has become essential to me.\u003C\u002Fp>\n",{"variant":1179,"images":14463,"_type":73},[14464,14467],{"_id":14465,"url":14466,"alt":18,"caption":18,"credit":14384,"width":7416,"height":12424},2193,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-28.jpg",{"_id":14468,"url":14469,"alt":18,"caption":18,"credit":14384,"width":7416,"height":12424},2194,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-28.jpg",{"questions":14471,"_type":45},[14472],{"question":14473,"answer":14474},"\u003Cp>Working primarily with metal and wood, would you ever see yourself going beyond these into other materials?\u003C\u002Fp>\n","\u003Cp>I would very much like to work with stone. It is a material that fascinates me because of its hardness and durability. I would like to combine it with wood and metal to create pieces using three materials.\u003C\u002Fp>\n\u003Cp>I also plan to develop my foundry skills. I have already made silver wedding rings, but I would like to think bigger and work with brass or bronze combined with wood. I would like to discover a way to combine these materials that are so different from each other.\u003C\u002Fp>\n",{"images":14476,"size":84,"_type":57},[14477],{"_id":14478,"url":14479,"alt":18,"caption":18,"credit":14389,"width":7416,"height":12424},2195,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-27.jpg",{"questions":14481,"_type":45},[14482],{"question":638,"answer":14483},"\u003Cp>You can follow my work on \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fjuleslobgeois\u002F\">Instagram\u003C\u002Fa> and on my \u003Ca href=\"https:\u002F\u002Fwww.juleslobgeois.com\u002F\">website.\u003C\u002Fa> I regularly exhibit with \u003Ca href=\"https:\u002F\u002Flalunegalerie.fr\u002Fcollections\u002Fjules-lobgeois\">La Lune gallery\u003C\u002Fa>\u003C\u002Fp>\n",{"_type":6,"_id":3542,"slug":14485,"name":14486,"index":202,"date":14487,"thumbnails":14488,"description":18,"footerImage":14496,"categories":14499,"sections":14501},"anais-maar","Anaïs Maar","2025-12-26",{"quote":14489,"main":14490,"secondary":14495,"reverse":24},"\u003Cp>“I need to feel the painting vibrate through the succession of overlapping layers beneath the surface…”\u003C\u002Fp>\n",{"image":14491,"background":21,"fit":22},{"_id":14492,"url":14493,"alt":18,"caption":18,"credit":14494,"width":6957,"height":7980},2199,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-29.jpg","Photo Studio Sebert Nil Gallery",{"image":24,"background":21,"fit":22},{"_id":14497,"url":14498,"alt":18,"caption":18,"credit":18,"width":7416,"height":7980},2198,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-31.jpg",[14500],{"_id":127,"slug":146,"name":147},[14502,14506,14510,14515,14520,14527,14531,14536,14541,14549,14554,14559,14564,14570,14574,14582,14587,14593,14598,14603,14608,14616],{"questions":14503,"_type":45},[14504],{"question":1766,"answer":14505},"\u003Cp>I’m Anaïs Maar, I’m based between Paris, where are my painting studio and friends, and Hyères, where my family lives.\u003C\u002Fp>\n",{"questions":14507,"_type":45},[14508],{"question":3060,"answer":14509},"\u003Cp>I’m a painter, and I mainly work with oil and pastels. Since texture is essential to me, these mediums offer the widest range of possible combinations. I work in multiple, alternating layers of oil and pastel ; often using both at once. I scrape and rescrape my paintings with a knife once they’ve reached a certain stage, and then I start again, aiming for a precise level of density and vibration through the accumulation of layers and pigments. In that sense, my work is closer to sculpture than to painting, as I spend my time building large masses only to carve back into them. I have also created a few pieces in wood, and that medium felt quite natural to me.\u003C\u002Fp>\n\u003Cp>But my work mainly revolves around my obsession with light. I need to feel the painting vibrate through the succession of overlapping layers beneath the surface.\u003C\u002Fp>\n\u003Cp>I love skin-like textures and effects, but I also enjoy experimenting with charcoal or any other medium that sparks my curiosity. It’s just that, for now, my obsession with light and texture always draws me back to oil and pastels.\u003C\u002Fp>\n",{"images":14511,"size":56,"_type":57},[14512],{"_id":14513,"url":14514,"alt":18,"caption":18,"credit":18,"width":6134,"height":7980},2197,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-27.jpg",{"questions":14516,"_type":45},[14517],{"question":14518,"answer":14519},"\u003Cp>You trained at Émile Cohl in Lyon with a foundation in academic painting, but later moved into illustration, concept art, and animation. How did one inspire the other for you?\u003C\u002Fp>\n","\u003Cp>For me, art is nothing more than the digestion of everything that has surrounded us since the beginning. Illustration and animation, which I was obsessed to (as many kids), go straight to the essence of form and color. This originally comes from practical and economic constraints, but it results in a powerful sense of composition and color work. This influence has remained present in my own practice: most of my figures and shapes appear “frozen” in movement, caught in an animated pose. My forms are simplified; I simply add three-dimensional volume to two-dimensional shapes. This is where my exploration of positive and negative space comes from. Shapes that are cut out, rhythmically interacting with one another, all composed around an empty space, much like in a children’s book illustration.\u003C\u002Fp>\n",{"variant":1116,"images":14521,"_type":73},[14522,14524],{"_id":3452,"url":14523,"alt":18,"caption":18,"credit":18,"width":6134,"height":1211},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-30.jpg",{"_id":14525,"url":14526,"alt":18,"caption":18,"credit":18,"width":6134,"height":1211},2201,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-30.jpg",{"questions":14528,"_type":45},[14529],{"question":18,"answer":14530},"\u003Cp>These shapes, which I call “grotesques,” are like a stage curtain to me. They allow me to approach themes that are not always cheerful through naive, exaggerated, and colorful forms. It’s a bit like old tales or certain animated works that convey messages to both children and adults. Painting became the natural conclusion for me ; the medium through which I could express ideas that I was unable to put into words, whether spoken or written.\u003C\u002Fp>\n",{"images":14532,"size":84,"_type":57},[14533],{"_id":14534,"url":14535,"alt":18,"caption":18,"credit":18,"width":9651,"height":5695},2202,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-29.jpg",{"questions":14537,"_type":45},[14538],{"question":14539,"answer":14540},"\u003Cp>You’ve cited Fauvism, Cubism, Russian avant-garde, Japanese graphic culture, and medieval iconography as influences. Where did these inspirations come from?\u003C\u002Fp>\n","\u003Cp>I believe they come, as with animation and illustration, from a series of logical conclusions drawn from my attraction to simple forms and limited color palettes. All these influences share common threads that have naturally woven together ; my childhood immersed in cartoons and manga, the illustrations and symbols from catechism classes back when I was a believer, the Mediterranean skies, and the blend of violence and softness in that uncompromising nature, then later when I arrived in Paris all the modern painters I rediscovered out from the books of art school.\u003C\u002Fp>\n",{"variant":1116,"images":14542,"_type":73},[14543,14546],{"_id":14544,"url":14545,"alt":18,"caption":18,"credit":18,"width":5042,"height":4934},2203,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-30.jpg",{"_id":14547,"url":14548,"alt":18,"caption":18,"credit":18,"width":3169,"height":7231},2204,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-29.jpg",{"questions":14550,"_type":45},[14551],{"question":14552,"answer":14553},"\u003Cp>Painting began “in secret” for you, what was it about painting that felt private at that time?\u003C\u002Fp>\n","\u003Cp>I couldn’t talk about the things that were happening in my life at the time, but I think I needed them to be seen somehow. So the urge to paint became stronger and stronger. At first, I painted in secret, because even in a symbolic way, I was afraid of revealing too much about myself. Now it’s quite the opposite…I can’t stop talking about everything and too much of me, I can’t keep anything to myself anymore, haha!\u003C\u002Fp>\n",{"images":14555,"size":56,"_type":57},[14556],{"_id":14557,"url":14558,"alt":18,"caption":18,"credit":18,"width":8919,"height":7231},2205,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-29.jpg",{"questions":14560,"_type":45},[14561],{"question":14562,"answer":14563},"\u003Cp>You’ve called art and painting a “quest for stability”. What role does it play for you emotionally or psychologically?\u003C\u002Fp>\n","\u003Cp>Painting allows me to release an overflow of emotions, images, and sensations, whether they are good or bad. It’s always too much for me to hold inside. For a long time, I moved between periods of intense psychological distress and moments of great passion. The same thing happened to my body, with endometriosis I have had intense periods of huge suffering, with the mind trapped in this body. Through painting, my heart and my mind finally found harmony. The world now feels clearer, quieter. Although I have a little pain every morning, my body also hurt less.\u003Cbr \u002F>\nI did not choose to become a painter; I simply felt the need to paint, and from that moment on, I no longer had a choice. It became my reason for living, my way of expressing through images the things I could only speak about once I had processed them through this medium. What I think and what I show or say are no longer in contradiction.\u003Cbr \u002F>\nThat is all I have ever needed, even as a teenager, but even more so in my twenties. I just did not know where to look. At one point in my life, for deeply personal reasons, the emptiness in my heart was so vast that it swallowed every impulse toward life. Then, through painting, light began to appear. Light literally burst forth in my work, and a month later, my voice finally returned after ten years of silence.\u003Cbr \u002F>\nI am speaking of a painting that is very dear to me, Pure. It marked a turning point in a long series that I have not yet finished exploring, perhaps because the healing is still ongoing.\u003C\u002Fp>\n",{"images":14565,"size":84,"_type":57},[14566],{"_id":14567,"url":14568,"alt":18,"caption":18,"credit":14569,"width":352,"height":10403},2206,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-28.jpg","Blanche Tripoteau",{"questions":14571,"_type":45},[14572],{"question":18,"answer":14573},"\u003Cp>It represents the unification I have always been longing for. I no longer feel divided. Yet duality remains a central theme in my work, both in the visual aspect, such as my use of symmetry, and in my subjects: naive forms alongside darker themes, love and violence, color against emptiness.\u003C\u002Fp>\n",{"variant":1116,"images":14575,"_type":73},[14576,14579],{"_id":14577,"url":14578,"alt":18,"caption":18,"credit":18,"width":352,"height":6995},2207,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-25.jpg",{"_id":14580,"url":14581,"alt":18,"caption":18,"credit":18,"width":352,"height":6995},2208,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-20.jpg",{"questions":14583,"_type":45},[14584],{"question":14585,"answer":14586},"\u003Cp>There are recurring figures such as swans, serpents, and seashells and more in your work. Do they arrive instinctively, or do you approach them with symbolic intentions?\u003C\u002Fp>\n","\u003Cp>There is definitely a symbolic intention. All of these are codes I have inherited from religion, from the myths and tales of my childhood, and from the Roman and Etruscan symbols that were part of my surroundings. But like all myths, I see these symbols in a contemporary and evolving way, shaped by the world and the time I live in. None of the animals carry a purely positive or negative symbolism. For me, they often represent the synthesis of one of our contradictions, one of our dualities.\u003C\u002Fp>\n",{"images":14588,"size":84,"_type":57},[14589],{"_id":14590,"url":14591,"alt":18,"caption":18,"credit":14592,"width":352,"height":2094},2209,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-15.jpg","Valentin Fourgeray",{"questions":14594,"_type":45},[14595],{"question":14596,"answer":14597},"\u003Cp>You’ve described painting as both “eruption and meditation.” What does that feel like when you’re working?\u003C\u002Fp>\n","\u003Cp>I feel completely present. It’s a bit like MDMA (which I don’t take anymore), I exist only in sensation. I let the images pass through me and flow out of me. The past no longer exists, the future doesn’t matter, and the emptiness fades away. What remains is a small wound, almost healed, that slowly reopens whenever I stop painting for too long.\u003C\u002Fp>\n",{"images":14599,"size":56,"_type":57},[14600],{"_id":14601,"url":14602,"alt":18,"caption":18,"credit":18,"width":3761,"height":7071},2210,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-11.jpg",{"questions":14604,"_type":45},[14605],{"question":14606,"answer":14607},"\u003Cp>Color seems to act like a second subject in your work. How do you think about your palette?\u003C\u002Fp>\n","\u003Cp>It’s perhaps the most natural part for me, the most logical. Drawing is what requires the most thought, partly because I know that if it feels right, the palette will reveal itself naturally. I rarely think in advance about the symbolic weight of my colors, but their meaning becomes obvious to me afterward, haha!\u003C\u002Fp>\n",{"variant":1116,"images":14609,"_type":73},[14610,14613],{"_id":14611,"url":14612,"alt":18,"caption":18,"credit":18,"width":3761,"height":7071},2211,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-7.jpg",{"_id":14614,"url":14615,"alt":18,"caption":18,"credit":18,"width":3761,"height":7071},2212,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16-3.jpg",{"questions":14617,"_type":45},[14618],{"question":638,"answer":14619},"\u003Cp>You can find me on Instagram, where I saturate an already overly saturated world of images of all kinds, like a 2014-style visual diary. It is also possible to visit my studio over a coffee in Paris (ask@anaismaar.com), and some of my works can be found through NilGallery Paris, which often gives me great international visibility. You can also follow them to have some news about that!\u003C\u002Fp>\n",{"_type":6,"_id":14621,"slug":14622,"name":14623,"index":196,"date":14624,"thumbnails":14625,"description":18,"footerImage":14632,"categories":14636,"sections":14638},2214,"joud-fahmy","Joud Fahmy","2026-01-06",{"quote":14626,"main":14627,"secondary":14631,"reverse":24},"\u003Cp>“My work turns objects into vessels of feeling, inviting viewers to witness the inner world we all carry.”\u003C\u002Fp>\n",{"image":14628,"background":21,"fit":139},{"_id":14629,"url":14630,"alt":18,"caption":18,"credit":18,"width":1830,"height":1265},2606,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FJOUD.jpg",{"image":24,"background":21,"fit":22},{"_id":14633,"url":14634,"alt":18,"caption":18,"credit":14635,"width":3761,"height":6198},2216,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-30.jpg","Misk Art Institute",[14637],{"_id":127,"slug":146,"name":147},[14639,14643,14648,14653,14658,14663,14668,14673,14678,14683,14688,14693,14698,14702,14707,14712,14717,14725,14730,14735],{"questions":14640,"_type":45},[14641],{"question":1766,"answer":14642},"\u003Cp>My name is Joud Fahmy from Jeddah, Saudi Arabia\u003C\u002Fp>\n",{"questions":14644,"_type":45},[14645],{"question":14646,"answer":14647},"\u003Cp>How would you describe your practice in a few words?\u003C\u002Fp>\n","\u003Cp>I explore women’s voices and expression by translating concepts such as family dynamics and gender roles into tangible mixed-media sculptural works. My practice initiates dialogue between the traditional and the contemporary, using material and form to question societal barriers and limitations and to act as a catalyst for shifting meaning and reshaping cultural narratives.\u003C\u002Fp>\n",{"images":14649,"size":84,"_type":57},[14650],{"_id":14651,"url":14652,"alt":18,"caption":18,"credit":18,"width":6121,"height":4904},2217,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-28.jpg",{"questions":14654,"_type":45},[14655],{"question":14656,"answer":14657},"\u003Cp>What’s an early experience with making that stayed with you, and how did it evolve into your practice today?\u003C\u002Fp>\n","\u003Cp>Since I was young, I could see the full picture of what I wanted to create, even if I didn’t yet know how to reach it. That vision stayed with me, and working toward it has always been driven by a mix of curiosity, persistence, and what I can only call obsession. I don’t know the exact word for it—insistence, curiosity, or maybe a constant need to see things through—but it has shaped how I approach my work.\u003Cbr \u002F>\nJudo has been an important influence on my practice as well. Like sculpture, it involves the body, movement, and repetition, and requires discipline, focus, and awareness of force and counterforce. The mental and physical repetition of Judo mirrors the way I work with materials, testing limits and exploring possibilities over time. Obsession and discipline together have guided me, and I feel blessed to have this combination—it pushes me forward, allows me to explore deeply, and shapes the way my practice develops.\u003C\u002Fp>\n",{"images":14659,"size":84,"_type":57},[14660],{"_id":14661,"url":14662,"alt":18,"caption":18,"credit":18,"width":7732,"height":4904},2218,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-31.jpg",{"questions":14664,"_type":45},[14665],{"question":14666,"answer":14667},"\u003Cp>Why did rope and wool become central to your practice?\u003C\u002Fp>\n","\u003Cp>I’ve always carried my emotions quietly, letting them sit inside me, unseen. Ropes became a way to give form to that tension—a material that holds, binds, and traps, yet can also reveal what’s been hidden. Wool, soft and organic, offers a sense of life and growth, something to build from. I’ve always related more to objects than to people, finding in them a language to express what words often cannot. I imagine many feel this too—the need to make the invisible visible, to let emotions breathe through something tangible. My work turns objects into vessels of feeling, inviting viewers to witness the inner world we all carry.\u003C\u002Fp>\n",{"images":14669,"size":84,"_type":57},[14670],{"_id":14671,"url":14672,"alt":18,"caption":18,"credit":18,"width":7732,"height":4904},2219,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-31.jpg",{"questions":14674,"_type":45},[14675],{"question":14676,"answer":14677},"\u003Cp>Dyeing the wool and rope is a slow, repetitive act. How does repetition shape your relationship to the material?\u003C\u002Fp>\n","\u003Cp>Dyeing wool and rope is a slow, repetitive act that shapes my relationship to motion and patience rather than to the material itself. The rhythm of repetition allows attention to move away from overthinking and toward embodied awareness. Having experienced depersonalization–derealization disorder (DPDR), this sustained engagement with repetition became a vital method of healing, helping me reconnect with sensation, movement, and the world around me. The work reflects lived experience, where repetition functions as both a practice of attentive motion and a path toward recovery.\u003C\u002Fp>\n",{"images":14679,"size":84,"_type":57},[14680],{"_id":14681,"url":14682,"alt":18,"caption":18,"credit":18,"width":7732,"height":4904},2220,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-30.jpg",{"questions":14684,"_type":45},[14685],{"question":14686,"answer":14687},"\u003Cp>As a self-taught artist, what does it mean to create a craft from experimentation rather than formal training?\u003C\u002Fp>\n","\u003Cp>As a self-taught artist, creating craft through experimentation rather than formal training means approaching materials and processes with curiosity and freedom, without pre-defined rules or expectations. Materials that might have been considered survival tools or functional objects become vessels for emotional expression. This approach allows me to see beyond conventional uses and formal design principles, and to develop my own “academic” practice—researching materials deeply, learning their history, and experimenting with diverse techniques. In this way, self-directed experimentation becomes both a method of discovery and a way to shape my artistic voice.\u003C\u002Fp>\n",{"images":14689,"size":84,"_type":57},[14690],{"_id":14691,"url":14692,"alt":18,"caption":18,"credit":18,"width":4517,"height":2707},2221,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-31.jpg",{"questions":14694,"_type":45},[14695],{"question":14696,"answer":14697},"\u003Cp>Your work gives form to emotions that are usually invisible. How do you decide when an emotion is ready to become physical?\u003C\u002Fp>\n","\u003Cp>Deciding when an emotion is ready to become physical is often guided by instinct and my present experience. I may have projects in mind, but I wait until I am in the emotional state that allows me to fully explore them or until I have figured out the best way to bring them into form. For example, in my work Between the Body and Emotion, I drew inspiration from a burnt-out tree I photographed in Daimoumah, AlUla, two years ago. At the time, I knew I wanted to explore the color and form of the tree, and the idea that not everything has to be perfect—that there is beauty in imperfection—but I had to wait until the right moment and emotional readiness to translate that vision into my work.\u003C\u002Fp>\n",{"images":14699,"size":84,"_type":57},[14700],{"_id":12258,"url":14701,"alt":18,"caption":18,"credit":18,"width":11199,"height":6654},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-30.jpg",{"questions":14703,"_type":45},[14704],{"question":14705,"answer":14706},"\u003Cp>Many of your works confront the idea of women being reduced to vessels, how do you see the female body operating as a carrier of history and a moving archive instead?\u003C\u002Fp>\n","\u003Cp>I am often asked why I focus on the female body in my work. The answer is simple: I can only speak from the experience I know. I do not have a male body, and I cannot fully understand what it is like to live in one. What I can explore is the female body—how it inhabits both public and private spaces, and how it reacts to societal expectations, attention, and restriction. I often feel that women are treated as objects, and my work aims to challenge that reduction.\u003C\u002Fp>\n\u003Cp>Through my practice, I see the female body as a carrier of history and a moving archive. It holds traces of generations, cultural norms, and personal emotions. Every gesture, posture, and interaction—translated into sculptural forms—reflects how women navigate visibility, vulnerability, and agency. At the same time, I am curious about experiences beyond my own, which is why I also work with materials that are not gendered. Materials allow me to explore ideas and forms beyond the limitations of the body, creating a space where I can attempt, even if only partially, to understand perspectives outside my own.\u003C\u002Fp>\n",{"images":14708,"size":84,"_type":57},[14709],{"_id":14710,"url":14711,"alt":18,"caption":18,"credit":18,"width":11199,"height":6654},2223,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-30.jpg",{"questions":14713,"_type":45},[14714],{"question":14715,"answer":14716},"\u003Cp>What do you return to, outside of making, that keeps you inspired?\u003C\u002Fp>\n","\u003Cp>Outside of making, I return to lived experience as my main source of inspiration. I try not to limit myself to being surrounded only by artists or the art world. Spending time in nature, traveling—especially with my mother—and encountering different cultures help me stay connected to life beyond the studio. I am also inspired by conversations with people from other fields, such as scientists, botanists, geologists, and lawyers, whose more analytical and logical ways of thinking challenge my perspective and influence how I approach material, structure, and meaning in my work.\u003C\u002Fp>\n",{"variant":1116,"images":14718,"_type":73},[14719,14722],{"_id":14720,"url":14721,"alt":18,"caption":18,"credit":18,"width":5877,"height":6940},2224,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-29.jpg",{"_id":14723,"url":14724,"alt":18,"caption":18,"credit":18,"width":5877,"height":6940},2225,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-26.jpg",{"questions":14726,"_type":45},[14727],{"question":14728,"answer":14729},"\u003Cp>When someone leaves your work, what do you hope stays with them?\u003C\u002Fp>\n","\u003Cp>When someone leaves my work, I hope they carry a sense of quiet recognition with them. I want the work to create a silent community—one where unspoken experiences are shared, and where emotions that are difficult to name are still understood. Many of us minimize our pain because we struggle to find the right language to express it. Through my work, I hope people feel less alone, sensing that someone else has lived through similar moments, and that survival and continuation are possible.\u003C\u002Fp>\n",{"images":14731,"size":84,"_type":57},[14732],{"_id":14733,"url":14734,"alt":18,"caption":18,"credit":18,"width":1918,"height":2952},2226,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-21.jpg",{"questions":14736,"_type":45},[14737],{"question":638,"answer":14738},"\u003Cp>You can find me on\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fjoudart55\u002F?g=5\"> Instagram\u003C\u002Fa>, or at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fhunna.art\u002F\">Hunna Art Gallery\u003C\u002Fa>, where I am part of the group exhibition “Acts of Protection under her wing”.\u003C\u002Fp>\n",{"_type":6,"_id":14740,"slug":14741,"name":14742,"index":14743,"date":14744,"thumbnails":14745,"description":18,"footerImage":14753,"categories":14756,"sections":14758},2228,"textile-seekers","Textile Seekers",118,"2026-01-12",{"quote":14746,"main":14747,"secondary":14752,"reverse":24},"\u003Cp>“preserving textile knowledge is not only about heritage, but also about protection, dignity, and future livelihoods…”\u003C\u002Fp>\n",{"image":14748,"background":21,"fit":139},{"_id":14749,"url":14750,"alt":18,"caption":18,"credit":14751,"width":4447,"height":653},2723,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F118-head.jpg","Anouk Nitsche",{"image":24,"background":21,"fit":22},{"_id":14754,"url":14755,"alt":18,"caption":18,"credit":14751,"width":3065,"height":1331},2230,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-33.jpg",[14757],{"_id":33,"slug":34,"name":35},[14759,14764,14768,14773,14778,14782,14787,14793,14798,14804,14809,14814,14819,14827,14832,14837,14842,14847,14852,14857,14862,14867],{"questions":14760,"_type":45},[14761],{"question":14762,"answer":14763},"\u003Cp>What’s your name and where are you based \u002F from?\u003C\u002Fp>\n","\u003Cp>My name is Thao Phuong. I was born in Vietnam and left as a refugee with my family. I grew up in Melbourne, Australia, and have been living abroad for over 20 years across seven different countries. I am currently based in Barcelona.\u003C\u002Fp>\n",{"questions":14765,"_type":45},[14766],{"question":14646,"answer":14767},"\u003Cp>Research-driven, craft-led, and rooted in cultural preservation, storytelling, and collaboration.\u003C\u002Fp>\n",{"images":14769,"size":84,"_type":57},[14770],{"_id":14771,"url":14772,"alt":18,"caption":18,"credit":14751,"width":3065,"height":6233},2231,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-29.jpg",{"questions":14774,"_type":45},[14775],{"question":14776,"answer":14777},"\u003Cp>In your earlier years, what was your relationship to fashion and textiles?\u003C\u002Fp>\n","\u003Cp>My mother sewed when I was younger, so I was always surrounded by it. I remember helping her, and it became a family effort. My brothers, my sister, and I would all step in when there was a deadline. Through that, I understood very early on how clothing played an important role in our world, or at least in my world. It showed me how textiles sit at the intersection of care, labour, time, and family.\u003C\u002Fp>\n",{"images":14779,"size":84,"_type":57},[14780],{"_id":10957,"url":14781,"alt":18,"caption":18,"credit":14751,"width":9386,"height":6233},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-32.jpg",{"questions":14783,"_type":45},[14784],{"question":14785,"answer":14786},"\u003Cp>What led you to begin TextileSeekers?\u003C\u002Fp>\n","\u003Cp>TextileSeekers began after a trip to Vietnam that shifted something fundamental for me. Through connecting with Indigenous communities, and later through working alongside a non-profit organization, I became aware that many Indigenous groups are highly susceptible to human trafficking and economic exploitation. It became clear that preserving textile knowledge is not only about heritage, but also about protection, dignity, and future livelihoods. By supporting and valuing these crafts, my hope is that younger generations will stay, learn from their ancestors, and continue these traditions.\u003C\u002Fp>\n",{"variant":1116,"images":14788,"_type":73},[14789,14791],{"_id":14140,"url":14790,"alt":18,"caption":18,"credit":14751,"width":6070,"height":11012},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-32.jpg",{"_id":12446,"url":14792,"alt":18,"caption":18,"credit":14751,"width":6070,"height":11012},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-31.jpg",{"questions":14794,"_type":45},[14795],{"question":14796,"answer":14797},"\u003Cp>Documentation and photography play a key role. What do you hope images and stories can hold that objects alone cannot?\u003C\u002Fp>\n","\u003Cp>Much of the imagery for TextileSeekers is created with photographer Anouk Nitsche, who has become a very close friend. She was originally a traveller on one of the retreats, and since then it has felt like a perfect union. The way she sees and captures the world aligns deeply with how I experience it. When we work together, something very instinctive happens. Images and stories can hold atmosphere, emotion, process, and intimacy in a way objects alone cannot, especially once those objects leave their place of origin.\u003C\u002Fp>\n",{"images":14799,"size":84,"_type":57},[14800],{"_id":14801,"url":14802,"alt":18,"caption":18,"credit":14751,"width":14803,"height":11012},2235,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-32.jpg",2378,{"questions":14805,"_type":45},[14806],{"question":14807,"answer":14808},"\u003Cp>Can you tell us a bit more about your collaborative project In Their Hands?\u003C\u002Fp>\n","\u003Cp>In Their Hands is a collaborative series where I invite creatives, thinkers, and cultural figures to create an object with TextileSeekers. Each collaboration begins with conversation and reflection around memory, heritage, and use. The object becomes a shared expression rather than a standalone product.\u003C\u002Fp>\n",{"images":14810,"size":84,"_type":57},[14811],{"_id":14812,"url":14813,"alt":18,"caption":18,"credit":14751,"width":3065,"height":1331},2229,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-31.jpg",{"questions":14815,"_type":45},[14816],{"question":14817,"answer":14818},"\u003Cp>What is Thôi Nôi and how have you adopted this tradition to begin your series of collaborations?\u003C\u002Fp>\n","\u003Cp>Thôi Nôi is a Vietnamese coming-of-age ritual where a child is guided to choose objects that symbolically hint at their future path. In In Their Hands, I guide collaborators to choose intuitively, based on their own discipline, instincts, and what naturally draws them in. I also offer them a glimpse into some of the crafts I have witnessed in Vietnam. From there, they develop an object that genuinely connects to them and speaks to their personal narrative.\u003C\u002Fp>\n",{"variant":1116,"images":14820,"_type":73},[14821,14824],{"_id":14822,"url":14823,"alt":18,"caption":18,"credit":14751,"width":10552,"height":2444},2237,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-31.jpg",{"_id":14825,"url":14826,"alt":18,"caption":18,"credit":14751,"width":10552,"height":2444},2238,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-30.jpg",{"questions":14828,"_type":45},[14829],{"question":14830,"answer":14831},"\u003Cp>In your first collaboration with Caroline Issa, what became the focus of your work together?\u003C\u002Fp>\n","\u003Cp>The collaboration with Caroline Issa centered around the safety pin as a symbol. We worked with horn beads and a single shell bead, each carrying meaning around protection, restraint, and quiet strength. The object reflects both function and symbolism, something understated yet deeply considered.\u003C\u002Fp>\n",{"images":14833,"size":56,"_type":57},[14834],{"_id":14835,"url":14836,"alt":18,"caption":18,"credit":14751,"width":10552,"height":2444},2239,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-27.jpg",{"questions":14838,"_type":45},[14839],{"question":14840,"answer":14841},"\u003Cp>You also organize retreats, with one upcoming in March. What do you hope these experiences offer guests?\u003C\u002Fp>\n","\u003Cp>The upcoming retreat is a six day experience in Vietnam, taking place from March 9 to 14. It is another way for me to directly support the communities I work with. A second retreat will take place from September 21 to 26. These experiences are about slowing down, building understanding, and creating meaningful exchange rather than passive observation.\u003C\u002Fp>\n",{"images":14843,"size":84,"_type":57},[14844],{"_id":14845,"url":14846,"alt":18,"caption":18,"credit":14751,"width":10552,"height":2444},2240,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-22.jpg",{"questions":14848,"_type":45},[14849],{"question":14850,"answer":14851},"\u003Cp>Given how central collaboration is to your work, what surprised you most in the process?\u003C\u002Fp>\n","\u003Cp>What surprised me most is how much collaboration requires unlearning control. I learned to listen more, to trust intuition, and to allow space for other perspectives. True collaboration is less about directing and more about holding space.\u003C\u002Fp>\n",{"images":14853,"size":84,"_type":57},[14854],{"_id":14855,"url":14856,"alt":18,"caption":18,"credit":18,"width":10809,"height":1308},2860,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-16-21.jpg",{"questions":14858,"_type":45},[14859],{"question":14860,"answer":14861},"\u003Cp>Has starting TextileSeekers changed how you live day to day, as much as how you work?\u003C\u002Fp>\n","\u003Cp>Yes, completely. TextileSeekers has reshaped my daily rhythm. I move more slowly, travel with more intention, and think more carefully about what I consume and create. It has blurred the line between work and life in a way that feels aligned rather than exhausting.\u003C\u002Fp>\n",{"images":14863,"size":84,"_type":57},[14864],{"_id":14865,"url":14866,"alt":18,"caption":18,"credit":14751,"width":9862,"height":1308},2242,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-12.jpg",{"questions":14868,"_type":45},[14869],{"question":638,"answer":14870},"\u003Cp>You can find me through TextileSeekers at \u003Ca href=\"http:\u002F\u002Ftextileseekers.com\">textileseekers.com\u003C\u002Fa> and on Instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Ftextileseekers\u002F?g=5\">@textileseekers\u003C\u002Fa>. Ongoing projects include In Their Hands collaborations, the Craft Fellowship Awards, and upcoming retreats. The work moves between countries and communities rather than living in one fixed physical space. “preserving textile knowledge is not only about heritage, but also about protection, dignity, and future livelihoods.”\u003C\u002Fp>\n",{"_type":6,"_id":3420,"slug":14872,"name":14873,"index":10826,"date":14874,"thumbnails":14875,"description":18,"footerImage":14883,"categories":14886,"sections":14888},"hey-from-happy","Hey from Happy","2026-01-15",{"quote":14876,"main":14877,"secondary":14882,"reverse":24},"\u003Cp>“When an image becomes a piece of you, it stops being just a picture and starts becoming a story…”\u003C\u002Fp>\n",{"image":14878,"background":21,"fit":22},{"_id":14879,"url":14880,"alt":18,"caption":18,"credit":18,"width":14881,"height":155},2661,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002Feefdcb98-794c-11f1-84dc-0242ac120003.jpeg",560,{"image":24,"background":21,"fit":22},{"_id":14884,"url":14885,"alt":18,"caption":18,"credit":18,"width":8582,"height":11488},2246,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-34.jpg",[14887],{"_id":1739,"slug":7913,"name":7914},[14889,14893,14897,14903,14907,14912,14916,14921,14926,14931,14936,14941,14949,14954,14959,14964,14972],{"questions":14890,"_type":45},[14891],{"question":14762,"answer":14892},"\u003Cp>My name is Saeed, which translates to “Happy”,  that’s where my nickname comes from (Most people get an instant aha moment after realizing).\u003Cbr \u002F>\nI was born in Finland, I’m half Finnish and half Saudi. I’m currently living and based in Dammam, Saudi Arabia.\u003C\u002Fp>\n",{"questions":14894,"_type":45},[14895],{"question":14646,"answer":14896},"\u003Cp>Visual storytelling that moves between fashion, street photography, and short films.\u003C\u002Fp>\n",{"images":14898,"size":84,"_type":57},[14899],{"_id":14900,"url":14901,"alt":18,"caption":18,"credit":18,"width":14902,"height":9213},2247,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-30.jpg",2315,{"images":14904,"size":84,"_type":57},[14905],{"_id":6800,"url":14906,"alt":18,"caption":18,"credit":18,"width":6462,"height":12270},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-33.jpg",{"questions":14908,"_type":45},[14909],{"question":14910,"answer":14911},"\u003Cp>When or how did you start using a camera?\u003C\u002Fp>\n","\u003Cp>I started photography as a hobby in 2020. At the time, I was searching for my artistic identity and experimenting with different creative fields. When I finally picked up a camera, something clicked. I began experimenting, and slowly, almost unintentionally, I fell in love with the process.\u003C\u002Fp>\n",{"images":14913,"size":84,"_type":57},[14914],{"_id":857,"url":14915,"alt":18,"caption":18,"credit":18,"width":6462,"height":12270},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-33.jpg",{"questions":14917,"_type":45},[14918],{"question":14919,"answer":14920},"\u003Cp>You speak about telling meaningful stories. What makes a story meaningful to you?\u003C\u002Fp>\n","\u003Cp>For me, the beauty of photography isn’t about creating “nice” images, it’s about carrying emotion and communicating something without words. A meaningful photograph has intention behind it. That intention comes from practice, from understanding your craft, and from allowing your character to exist within the frame. When an image becomes a piece of you, it stops being just a picture and starts becoming a story.\u003C\u002Fp>\n",{"images":14922,"size":84,"_type":57},[14923],{"_id":14924,"url":14925,"alt":18,"caption":18,"credit":18,"width":6462,"height":7109},2251,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-33.jpg",{"questions":14927,"_type":45},[14928],{"question":14929,"answer":14930},"\u003Cp>Your curiosity started as a child; what questions are you still asking now?\u003C\u002Fp>\n","\u003Cp>There’s one question I’ve been asking since I was a child, and it has never left me: What’s next?\u003Cbr \u002F>\nWe live in a fast paced world that constantly pushes us to want more. I often ask myself, what if I achieved everything I ever dreamed of, what comes after that? That question continues to drive both my life and my work.\u003C\u002Fp>\n",{"images":14932,"size":84,"_type":57},[14933],{"_id":14934,"url":14935,"alt":18,"caption":18,"credit":18,"width":6462,"height":7109},2250,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-32.jpg",{"questions":14937,"_type":45},[14938],{"question":14939,"answer":14940},"\u003Cp>Has your work helped you understand something about yourself?\u003C\u002Fp>\n","\u003Cp>Photography helped me realize how deeply I love traveling and exploring different aspects of life. It gave me a reason to look beyond the ordinary and to search for meaning in unfamiliar places. Through it, I learned that the “bigger picture” has far more to offer than what’s immediately visible.\u003C\u002Fp>\n",{"variant":1116,"images":14942,"_type":73},[14943,14946],{"_id":14944,"url":14945,"alt":18,"caption":18,"credit":18,"width":8318,"height":4924},2252,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-32.jpg",{"_id":14947,"url":14948,"alt":18,"caption":18,"credit":18,"width":8318,"height":4924},2253,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-32.jpg",{"questions":14950,"_type":45},[14951],{"question":14952,"answer":14953},"\u003Cp>If you don’t have your camera, what are you likely doing?\u003C\u002Fp>\n","\u003Cp>I’m big on self-improvement. I work out a lot, read constantly, and sometimes express myself through poetry. Even without a camera, I’m always trying to understand myself and the world a little better.\u003C\u002Fp>\n",{"images":14955,"size":84,"_type":57},[14956],{"_id":14957,"url":14958,"alt":18,"caption":18,"credit":18,"width":8318,"height":4924},2254,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-31.jpg",{"questions":14960,"_type":45},[14961],{"question":14962,"answer":14963},"\u003Cp>In My Hometown Doesn’t Inspire Me, what was the first feeling the film had to express?\u003C\u002Fp>\n","\u003Cp>The film needed to say that sometimes your hometown isn’t really your home. Being born somewhere doesn’t mean it’s the place that helps you grow. Sometimes you have to find the courage to leave your memories behind and explore a place that allows you to evolve into a new version of yourself.\u003C\u002Fp>\n",{"variant":1179,"images":14965,"_type":73},[14966,14969],{"_id":14967,"url":14968,"alt":18,"caption":18,"credit":18,"width":8318,"height":2675},2255,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-28.jpg",{"_id":14970,"url":14971,"alt":18,"caption":18,"credit":18,"width":8318,"height":2675},2256,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-23.jpg",{"questions":14973,"_type":45},[14974],{"question":638,"answer":14975},"\u003Cp>I’m usually either at home or on a plane escaping somewhere. You can find my work and reach out to me on Instagram @heyfromhappy, or through my website heyfromhappy.com , come say hi 🙂\u003C\u002Fp>\n",{"_type":6,"_id":14977,"slug":14978,"name":14979,"index":14980,"date":14981,"thumbnails":14982,"description":18,"footerImage":14992,"categories":14995,"sections":14997},2258,"olesya-parfenyuk","Olesya Parfenyuk",120,"2026-01-19",{"quote":14983,"main":14984,"secondary":14988,"reverse":24},"\u003Cp>“We meet as  strangers and often leave as friends…”\u003C\u002Fp>\n",{"image":14985,"background":21,"fit":22},{"_id":14986,"url":14987,"alt":18,"caption":18,"credit":18,"width":890,"height":2694},2266,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-33.jpg",{"image":14989,"background":137,"fit":56},{"_id":14990,"url":14991,"alt":18,"caption":18,"credit":18,"width":204,"height":2473},2599,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FOlesya.jpg",{"_id":14993,"url":14994,"alt":18,"caption":18,"credit":18,"width":2067,"height":2675},2260,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-35.jpg",[14996],{"_id":1739,"slug":7913,"name":7914},[14998,15002,15006,15011,15016,15025,15030,15036,15041,15047,15052,15057,15062,15067,15072,15077,15082,15087],{"questions":14999,"_type":45},[15000],{"question":1766,"answer":15001},"\u003Cp>My name is Olesya Parfenyuk, born in Kyiv, raised in Vienna,  based between Vienna and Paris\u002FLisbon.\u003C\u002Fp>\n",{"questions":15003,"_type":45},[15004],{"question":3060,"answer":15005},"\u003Cp>My work is mostly portrait and fashion photography,  sometimes a bit of video, but also interdisciplinary work, like  this sculpture in space — Überrest (2022).\u003C\u002Fp>\n",{"images":15007,"size":56,"_type":57},[15008],{"_id":15009,"url":15010,"alt":18,"caption":18,"credit":18,"width":2067,"height":2675},2261,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-31.jpg",{"questions":15012,"_type":45},[15013],{"question":15014,"answer":15015},"\u003Cp>When did photography first become a language for  you?\u003C\u002Fp>\n","\u003Cp>At the age of 13, when I understood it is quicker to express  my ideas and characters than by paint that needs to dry haha.  I like to say I still paint but with light, real people and objects.  And to be fair, my grandfather is a photographer, so the  medium was always present in my life. I also loved watching  films growing up and seeing ways to visualize stories.\u003C\u002Fp>\n",{"variant":176,"images":15017,"_type":73},[15018,15022],{"_id":15019,"url":15020,"alt":18,"caption":18,"credit":15021,"width":3490,"height":9136},2262,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FEva_10.jpg","EVA BALAYAN for SICKY MAG",{"_id":15023,"url":15024,"alt":18,"caption":18,"credit":15021,"width":3490,"height":9136},2263,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FEva_11.jpg",{"questions":15026,"_type":45},[15027],{"question":15028,"answer":15029},"\u003Cp>You’ve lived between Kyiv, Vienna,\u003Cbr \u002F>\nParis, London, and Lisbon, do you feel that changing your  environment has shaped your way of seeing?\u003C\u002Fp>\n","\u003Cp>Absolutely. I think a lot about how environment shapes my  practice. How it could possibly change based on location. I  immigrated as a child, not by choice, and creating became a  form to cope. Growing up between cultures made me very  attentive to differences, biases, and unspoken rules, and I  believe, it subconsciously shaped my visual language. Culture  and upbringing deeply form our values, taste, our perception  of life, success, and even where we look for happiness— especially in darker moments—and moving around recently  made me even more aware of that. In every place I lived,  even for just a month, I tried to find what moves me: often  historical spaces, architecture and nature, but also the rhythm of the city, the relationships I build, and the experiences I gather.\u003C\u002Fp>\n",{"images":15031,"size":84,"_type":57},[15032],{"_id":15033,"url":15034,"alt":18,"caption":18,"credit":18,"width":2174,"height":15035},2264,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-34.jpg",476,{"questions":15037,"_type":45},[15038],{"question":15039,"answer":15040},"\u003Cp>You describe storytelling as being at the heart of your  practice. What stories do you like to tell?\u003C\u002Fp>\n","\u003Cp>For me, a story usually begins with a feeling. Sometimes it’s  very subtle—just in a gaze—and it doesn’t need much set  design. I’m drawn to a regard intérieur: an inward,  melancholic, nostalgic, and slightly surreal atmosphere. This  is still evolving and changing.\u003Cbr \u002F>\nBecause I’m very sensitive to energy, the stories often  emerge from what’s present in the moment. I try to feel how  the person in front of me feels, and we create something  together. I’m interested in behavioral science and in exploring  the depth of human complexity and connection. We meet as  strangers and often leave as friends.\u003C\u002Fp>\n",{"images":15042,"size":56,"_type":57},[15043],{"_id":15044,"url":15045,"alt":18,"caption":18,"credit":18,"width":890,"height":15046},2265,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-34.jpg",462,{"questions":15048,"_type":45},[15049],{"question":15050,"answer":15051},"\u003Cp>You explore the psychology of perception, what do you  think photography reveals about how we see one another?\u003C\u002Fp>\n","\u003Cp>Photography reveals that we never simply see one another  — we project. In a Lacanian sense, the self is never  complete and desire is never fully satisfied, so every  act of looking involves misrecognition. We don’t  photograph others as they are, but as we need or  imagine them to be. In that way, every photograph is  also a mirror of the photographer — and a reminder that images can reveal, but also fix and distort, how we see each other.\u003C\u002Fp>\n",{"images":15053,"size":84,"_type":57},[15054],{"_id":15055,"url":15056,"alt":18,"caption":18,"credit":18,"width":2067,"height":2675},2259,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-33.jpg",{"questions":15058,"_type":45},[15059],{"question":15060,"answer":15061},"\u003Cp>You mention challenging stereotypes of perception. Is there a particular cliché you’re working against?\u003C\u002Fp>\n","\u003Cp>Photography exposes how easily perception hardens into stereotype. Because images feel like evidence, they  can quietly reinforce biases and power structures.  That’s why I think photography demands ethical  attention: it asks us to constantly question what we are  really seeing, what we are imposing, and whose story  we are actually telling. I’m tired of those who in first  case still portray women as objects of desire. I’m also  bored by narrow, Western beauty standards that don’t  expand how we see the world. And I struggle with  glamour and the display of wealth; it feels insincere and  uninteresting to me.\u003C\u002Fp>\n",{"images":15063,"size":84,"_type":57},[15064],{"_id":15065,"url":15066,"alt":18,"caption":18,"credit":18,"width":3540,"height":8701},2267,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-34.jpg",{"questions":15068,"_type":45},[15069],{"question":15070,"answer":15071},"\u003Cp>Melancholy and romanticism seem to veil your work. Are they emotions you chase, or simply ones that follow  you?\u003C\u002Fp>\n","\u003Cp>I feel that melancholy and romanticism are always with me;\u003Cbr \u002F>\nthey follow me, sometimes only quietly echoing.  Reflecting on it, I think I carry a certain grief from  migrating and assimilating into a culture I didn’t choose.  I found peace and security in creating a world of my  own—through collecting, imagining, and being creative.  That’s when I fell in love with the 19th century, from its  aesthetics to its gothic novels, and with the idea of how  the past continues to live in the present. The antiques  I’ve been collecting have always fascinated me and  made me feel closer to bygone centuries.\u003C\u002Fp>\n",{"images":15073,"size":84,"_type":57},[15074],{"_id":15075,"url":15076,"alt":18,"caption":18,"credit":18,"width":3540,"height":8701},2268,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-33.jpg",{"questions":15078,"_type":45},[15079],{"question":15080,"answer":15081},"\u003Cp>How do you imagine expanding your practice, through film, installations, or something else?\u003C\u002Fp>\n","\u003Cp>I have experience in both, but I just need to dare to take it to a more serious level. Same with singing and dance. I  hold very high expectations for myself, which can block  me from experimenting and errors, even though I know  they’re part of the journey. I hope to return to enjoying  the process more than focusing on the outcome, and to  unlearn the idea that every talent must be brought to a  level and be monetized.\u003C\u002Fp>\n",{"images":15083,"size":84,"_type":57},[15084],{"_id":15085,"url":15086,"alt":18,"caption":18,"credit":18,"width":3540,"height":8701},2269,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-33.jpg",{"questions":15088,"_type":45},[15089],{"question":638,"answer":15090},"\u003Cp>Mainly in my Wunderkammer in Vienna or solo-traveling  somewhere at the cliffs or the sea. Online, on Insta  @olesyaparfenyuk and my website olesyaparfenyuk.com. Stay tuned for upcoming  projects!\u003C\u002Fp>\n",{"_type":6,"_id":15092,"slug":15093,"name":15094,"index":15095,"date":15096,"thumbnails":15097,"description":18,"footerImage":15107,"categories":15111,"sections":15113},2271,"hamzeh-alfarahneh","Hamzeh Alfarahneh",121,"2026-01-23",{"quote":15098,"main":15099,"secondary":15103,"reverse":24},"\u003Cp>“a bridge is built when a presumption is challenged, a story is reframed, or a point of identification emerges…”\u003C\u002Fp>\n",{"image":15100,"background":21,"fit":56},{"_id":15101,"url":15102,"alt":18,"caption":18,"credit":18,"width":204,"height":411},2601,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FHAMZEH-1.jpg",{"image":15104,"background":137,"fit":22},{"_id":15105,"url":15106,"alt":18,"caption":18,"credit":18,"width":204,"height":411},2602,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002Fhamzeh-2.jpg",{"_id":15108,"url":15109,"alt":18,"caption":18,"credit":18,"width":15110,"height":8701},2273,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-36.jpg",396,[15112],{"_id":930,"slug":4956,"name":4957},[15114,15119,15123,15128,15133,15138,15143,15151,15156,15161,15166,15172,15177,15182,15187,15193,15200,15205,15212,15217,15226,15231,15236],{"questions":15115,"_type":45},[15116],{"question":15117,"answer":15118},"\u003Cp>What’s your name and where are you based\u002F From?\u003C\u002Fp>\n","\u003Cp>My name is Hamzeh Alfarahneh. I am a third-generation Nakba survivor, Jordanian-born, Saudi-grown, and work as an independent curator and art advisor based between Cape Town and Near Asia.\u003C\u002Fp>\n",{"questions":15120,"_type":45},[15121],{"question":14646,"answer":15122},"\u003Cp>My practice is driven by curiosity and a deep preoccupation with bringing people — their cultures, ideologies, and stories — into conversation with one another.\u003C\u002Fp>\n",{"images":15124,"size":84,"_type":57},[15125],{"_id":14063,"url":15126,"alt":18,"caption":18,"credit":18,"width":15127,"height":2897},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-32.jpg",585,{"questions":15129,"_type":45},[15130],{"question":15131,"answer":15132},"\u003Cp>What were early experiences that led you into the arts?\u003C\u002Fp>\n","\u003Cp>I grew up in a household where self-expression was actively encouraged. My mother sketched when I was young and has recently returned to painting. My brother taught himself the piano before studying the oud, and my sister sang. I think I absorbed all of this intuitively. In a way it became part of the fabric of how I understood the world.\u003C\u002Fp>\n",{"images":15134,"size":84,"_type":57},[15135],{"_id":15136,"url":15137,"alt":18,"caption":18,"credit":18,"width":15127,"height":2897},2275,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-35.jpg",{"questions":15139,"_type":45},[15140],{"question":15141,"answer":15142},"\u003Cp>How did those early encounters influence how you think as a curator?\u003C\u002Fp>\n","\u003Cp>As a child, I often needed time to understand situations or environments fully, which cultivated a deep curiosity about the world around me. That curiosity now feeds directly into my curatorial practice: I see art as a vessel through which I can learn about the world via art.\u003Cbr \u002F>\nI also think a great deal about representation and the ethical responsibility of curators. This includes curatorial decisions, cultural sensitivity toward the artists, and attentiveness to the cultural context of the audience and place. My identity — as an Arab, Jordanian-Palastinian — inevitably informs how I think, frame, and position my work.\u003C\u002Fp>\n",{"variant":1179,"images":15144,"_type":73},[15145,15148],{"_id":15146,"url":15147,"alt":18,"caption":18,"credit":18,"width":15127,"height":2897},2276,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-35.jpg",{"_id":15149,"url":15150,"alt":18,"caption":18,"credit":18,"width":15127,"height":2897},2277,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-34.jpg",{"questions":15152,"_type":45},[15153],{"question":15154,"answer":15155},"\u003Cp>When you visit an exhibition, what is the first thing you tend to notice?\u003C\u002Fp>\n","\u003Cp>Almost without fail, I notice the floorplan first. Exhibition flow is an underappreciated curatorial skill. Beyond the relational logic between works, the exhibitions that stay with me are those that encourage exploration; where movement through space feels intuitive and considered. I often find myself noting the decisions that shape how viewers encounter both the space and the works within it.\u003C\u002Fp>\n",{"images":15157,"size":84,"_type":57},[15158],{"_id":15159,"url":15160,"alt":18,"caption":18,"credit":18,"width":15127,"height":2897},2278,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-35.jpg",{"questions":15162,"_type":45},[15163],{"question":15164,"answer":15165},"\u003Cp>How did working with institutions such as Zeitz MOCAA and the Louvre Abu Dhabi shape your understanding of the role of exhibitions and institutions?\u003C\u002Fp>\n","\u003Cp>Working with large institutions amplifies the work, it expands its reach and diversifies its audience. My approach to exhibition-making remains consistent, but I am acutely aware that the public’s engagement with the work is broader and more heterogeneous, which carries its own responsibilities.\u003C\u002Fp>\n",{"images":15167,"size":84,"_type":57},[15168],{"_id":15169,"url":15170,"alt":18,"caption":18,"credit":18,"width":3253,"height":15171},2279,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-34.jpg",578,{"questions":15173,"_type":45},[15174],{"question":15175,"answer":15176},"\u003Cp>You established Art(Advisory) in 2022 to advocate for the arts of the Global Majority, why did this become so central to your practice?\u003C\u002Fp>\n","\u003Cp>The short answer is: if we don’t do it, who will? Mustafa Barghouti once said, “We must be actors in our own story, not objects in someone else’s history.” Much of art history has been written through a Western lens, with the canon dictating what is considered capital-A Art. This is deeply rooted in colonial histories whose afterlives we are still negotiating today.\u003Cbr \u002F>\nAdvocating for the arts of the Global Majority comes from a place of urgency and agency. Too often, these geographies are framed as disconnected or perpetually “developing,” which is an incomplete narrative. They are, in fact, linked through shared histories, trade, religion, struggle, and ambition. I am far more interested in complicating that story than simplifying it.\u003C\u002Fp>\n",{"images":15178,"size":84,"_type":57},[15179],{"_id":15180,"url":15181,"alt":18,"caption":18,"credit":18,"width":3253,"height":15171},2280,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-34.jpg",{"questions":15183,"_type":45},[15184],{"question":15185,"answer":15186},"\u003Cp>Are there any artists you’re currently keeping your eye on?\u003C\u002Fp>\n","\u003Cp>Many. To name a few: Lulua Alyahya (Saudi Arabia), Zeinab Saleh (Kenyan–British), Unathi Mkonto (South Africa), Cian-Yu Bai (Taiwan), Ishmael Randall Weeks (Peru), Bayan Kiwan (Palestinian–Jordanian), Mohammad Alfaraj (Saudi Arabia), and Bonolo Kavula (South Africa).\u003C\u002Fp>\n",{"images":15188,"size":84,"_type":57},[15189],{"_id":15190,"url":15191,"alt":18,"caption":18,"credit":15192,"width":205,"height":5379},2281,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-32.jpg","Lulua Alyahya",{"images":15194,"size":84,"_type":57},[15195],{"_id":10574,"url":15196,"alt":18,"caption":18,"credit":15197,"width":15198,"height":15199},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-29.jpg","Bayan Kiwan",662,338,{"questions":15201,"_type":45},[15202],{"question":15203,"answer":15204},"\u003Cp>You talk about “building bridges” in your work. How do you know when a bridge has actually been built?\u003C\u002Fp>\n","\u003Cp>For me, a bridge is built when a presumption is challenged, a story is reframed, or a point of identification emerges. When viewers see themselves reflected in what they encounter, or become more tolerant and open toward what they once perceived as “other”.\u003C\u002Fp>\n",{"images":15206,"size":84,"_type":57},[15207],{"_id":15208,"url":15209,"alt":18,"caption":18,"credit":18,"width":15210,"height":15211},2283,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-24.jpg",618,419,{"questions":15213,"_type":45},[15214],{"question":15215,"answer":15216},"\u003Cp>In your role as an advisor, what do you need to understand about a client before you can advise them responsibly?\u003C\u002Fp>\n","\u003Cp>Trust is foundational. I seek first to understand why a client collects art — what motivates them, what they are drawn to, and what values underpin their decisions. These fundamentals allow me to help shape collections that are conceptually grounded and genuinely reflective of the collector. I am a firm believer that acquiring art should be a slow, considered process.\u003C\u002Fp>\n",{"variant":1116,"images":15218,"_type":73},[15219,15223],{"_id":15220,"url":15221,"alt":18,"caption":18,"credit":18,"width":15222,"height":660},2284,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-17.jpg",449,{"_id":15224,"url":15225,"alt":18,"caption":18,"credit":18,"width":15222,"height":660},2285,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-13.jpg",{"questions":15227,"_type":45},[15228],{"question":15229,"answer":15230},"\u003Cp>What questions do you hope future curators will ask that aren’t being asked enough right now?\u003C\u002Fp>\n","\u003Cp>To a large extent, this work began with curators like Okwui Enwezor, who shifted the lens from “them” to “us.” What I would like to see more of now is a continued expansion of the canon. I think it is our duty to  rethink art histories, movements, and narratives to more fully include Global Majority perspectives within the broader art ecology.\u003C\u002Fp>\n",{"images":15232,"size":84,"_type":57},[15233],{"_id":15234,"url":15235,"alt":18,"caption":18,"credit":18,"width":4589,"height":660},2286,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-8.jpg",{"questions":15237,"_type":45},[15238],{"question":638,"answer":15239},"\u003Cp>At the end of January, I will be in Riyadh for the opening of the Third Diriyah Contemporary Art Biennale, hosting a group of African art collectors, practitioners, and enthusiasts exploring one of the Gulf’s fastest-evolving cultural landscapes.\u003Cbr \u002F>\nIn mid-February, I’ll be in Cape Town, curating the Zeitz MOCAA Collateral Programme, titled By the Footsteps of the Beloved — عَلَى خُطَى الحَبِيب.\u003Cbr \u002F>\nThe phrase is an idiomatic expression drawn from the Arabic-speaking world, deeply rooted in Islamic devotional and literary traditions. In Islamic thought, al-ḥabīb (the Beloved) is a reverential title for the Prophet Muhammad (peace be upon him). In Sufi poetry and Arabic literature, the Beloved can take many forms: a spiritual guide, a mystical presence, or a human beloved.\u003Cbr \u002F>\nWe approach this framework metaphorically. By the Footsteps of the Beloved acknowledges that a mantle has been passed. It speaks to collective responsibility in institutional building, and to ensuring that a museum’s vision lives on through the shared labour of its staff, curators, artists, trustees, and wider ecosystem.\u003Cbr \u002F>\nLastly on instagram @notjustacreator and the Weekly Digest by Art(Advisory) newsletter on Linkedin\u003C\u002Fp>\n",{"_type":6,"_id":15241,"slug":15242,"name":15243,"index":10839,"date":15244,"thumbnails":15245,"description":18,"footerImage":15252,"categories":15255,"sections":15257},2288,"ye-cheng","Ye Cheng","2026-02-01",{"quote":15246,"main":15247,"secondary":15251,"reverse":24},"\u003Cp>“I began exploring Google Maps Street View as a kind of digital nomad, revisiting familiar places I could no longer access physically…”\u003C\u002Fp>\n",{"image":15248,"background":137,"fit":22},{"_id":15249,"url":15250,"alt":18,"caption":18,"credit":18,"width":8719,"height":10029},2604,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FYE-CHEng.jpg",{"image":24,"background":21,"fit":22},{"_id":15253,"url":15254,"alt":18,"caption":18,"credit":18,"width":143,"height":660},2291,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-37.jpg",[15256],{"_id":127,"slug":146,"name":147},[15258,15262,15266,15271,15276,15284,15289,15294,15299,15304,15309,15315,15320,15324,15329,15334,15339,15344,15349,15354,15359,15364],{"questions":15259,"_type":45},[15260],{"question":1766,"answer":15261},"\u003Cp>Ye Cheng, im based in NYC.\u003C\u002Fp>\n",{"questions":15263,"_type":45},[15264],{"question":3060,"answer":15265},"\u003Cp>I create imagined homelands.\u003C\u002Fp>\n",{"images":15267,"size":56,"_type":57},[15268],{"_id":15269,"url":15270,"alt":18,"caption":18,"credit":18,"width":143,"height":660},2292,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-35.jpg",{"questions":15272,"_type":45},[15273],{"question":15274,"answer":15275},"\u003Cp>When did you first begin painting?\u003C\u002Fp>\n","\u003Cp>I was never a talkative kid, I’m more like an observer. At age of 13, I started learning oil painting techniques and art history with artist and professor, Yinchen Zhou. I was her only student in her studio. Watching her create is inspiring and enchanting; the quiet studio feels like a safe zone to me, and that’s where art becomes my language of expression.\u003C\u002Fp>\n",{"variant":1179,"images":15277,"_type":73},[15278,15281],{"_id":15279,"url":15280,"alt":18,"caption":18,"credit":18,"width":143,"height":5526},2293,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-33.jpg",{"_id":15282,"url":15283,"alt":18,"caption":18,"credit":18,"width":143,"height":5526},2294,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-36.jpg",{"questions":15285,"_type":45},[15286],{"question":15287,"answer":15288},"\u003Cp>When did the landscapes of your imagination start merging with the landscapes around you?\u003C\u002Fp>\n","\u003Cp>Having lived in the U.S. for 15 years, I often reflect on what “home” means to me. I began exploring Google Maps Street View as a kind of digital nomad, revisiting familiar places I could no longer access physically. This feeling of distance and detachment inspires me to build a world, an imagined homeland. Over time, this personal exploration grew into a broader inquiry that bridges the personal and the historical, the East and the West, the old and the new.\u003C\u002Fp>\n",{"images":15290,"size":84,"_type":57},[15291],{"_id":15292,"url":15293,"alt":18,"caption":18,"credit":18,"width":3087,"height":10165},2295,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-36.jpg",{"questions":15295,"_type":45},[15296],{"question":15297,"answer":15298},"\u003Cp>Your recent works began with sketches made on the New York subway. What draws you to make art in such a transient space?\u003C\u002Fp>\n","\u003Cp>It wasn’t intentional or performative. Its rather a therapeutic exercise to create a psychological portal. In those impersonal “non-spaces,” I construct space as a dynamic fusion of the real and the imagined, the subjective and the objective. It’s an inner world shaped not only by personal emotion, but also by the cultural, social, and spatial forces that surround me. In that in-between space, I find grounding, possibility, and a place to simply exist.\u003C\u002Fp>\n",{"images":15300,"size":84,"_type":57},[15301],{"_id":15302,"url":15303,"alt":18,"caption":18,"credit":18,"width":6203,"height":2244},2296,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-35.jpg",{"questions":15305,"_type":45},[15306],{"question":15307,"answer":15308},"\u003Cp>Your title references the Daoist text Zhuangzi’s Happy Excursion. What part of this philosophy resonates with you?\u003C\u002Fp>\n","\u003Cp>“Xiaoyao You” is not merely a journey through space, but a state of the spirit breaking free from constraint — entering freedom and boundlessness. Similarly, in a contemporary Western context, Gaston Bachelard’s notion of “Le Redousse” (the redoubt) from The Poetics of Space offers a contrasting perspective: a shelter of retreat born from “angoisse” — the anxiety and desire to conquer the world. In my work, I create a world of peace as a way to resist this impulse to dominate.\u003C\u002Fp>\n",{"images":15310,"size":84,"_type":57},[15311],{"_id":15312,"url":15313,"alt":18,"caption":18,"credit":18,"width":15314,"height":2871},2297,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-36.jpg",763,{"questions":15316,"_type":45},[15317],{"question":15318,"answer":15319},"\u003Cp>You draw on Song dynasty landscapes while living in New York. What inspired you to bridge the ancestral and the urban?\u003C\u002Fp>\n","\u003Cp>I need 15 pages to explain this question. Or none;)\u003C\u002Fp>\n",{"images":15321,"size":84,"_type":57},[15322],{"_id":3409,"url":15323,"alt":18,"caption":18,"credit":18,"width":15314,"height":2871},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-35.jpg",{"questions":15325,"_type":45},[15326],{"question":15327,"answer":15328},"\u003Cp>Living between cultures can create what you call “disjunction.” Does that appear in your composition?\u003C\u002Fp>\n","\u003Cp>I want the composition to symbolize experience of moving through, rather than arrival.\u003C\u002Fp>\n",{"images":15330,"size":84,"_type":57},[15331],{"_id":15332,"url":15333,"alt":18,"caption":18,"credit":18,"width":10628,"height":6332},2289,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002Fd7hftxdivxxvm.cloudfront.net_.webp",{"questions":15335,"_type":45},[15336],{"question":15337,"answer":15338},"\u003Cp>Your landscapes include cubes and measured divisions, and they seem to appear more frequently in your recent works. What does this sense of geometric order mean to you?\u003C\u002Fp>\n","\u003Cp>They serve as motifs of modernity. These architectural cubes—rooted in the language of minimalist apartment and urban design—represent current living environment. By rendering them in glass or mirror, I seek to distort space, transforming these forms into pathways that reflect both movement and perception.\u003C\u002Fp>\n",{"images":15340,"size":84,"_type":57},[15341],{"_id":15342,"url":15343,"alt":18,"caption":18,"credit":18,"width":5551,"height":982},2300,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-33.jpg",{"questions":15345,"_type":45},[15346],{"question":15347,"answer":15348},"\u003Cp>How do you see the dark shapes in your work? Are these some sort of disruption, or something else?\u003C\u002Fp>\n","\u003Cp>It present the “Angoisse” (anguish). Void.\u003C\u002Fp>\n",{"images":15350,"size":84,"_type":57},[15351],{"_id":15352,"url":15353,"alt":18,"caption":18,"credit":18,"width":3714,"height":982},2301,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-30.jpg",{"questions":15355,"_type":45},[15356],{"question":15357,"answer":15358},"\u003Cp>As your landscapes keep shifting, what kind of spaces do you imagine painting next?\u003C\u002Fp>\n","\u003Cp>I’m stepping through the portal once again. As I move deeper into the black void, a soft glow begins to pull me forward. In this new terrain, familiar objects start to drift into view—my grandpa’s grapevine, a ticking clock, a plastic spoon, a piece of dusted lace. They float like quiet witnesses from different times and spaces. I recognize them as fragments of memory, resurfacing to shape the next landscapes I will paint.\u003C\u002Fp>\n",{"images":15360,"size":84,"_type":57},[15361],{"_id":15362,"url":15363,"alt":18,"caption":18,"credit":18,"width":3714,"height":6198},2302,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-25.jpg",{"questions":15365,"_type":45},[15366],{"question":638,"answer":15367},"\u003Cp>My studio is based in Midtown Manhattan, and my work is currently on view at Latitude Gallery through December 13, 2025. I’m spending this season in Shanghai for a residency at the Swatch Art Peace Hotel, where I’m preparing for two solo exhibitions in China next year. For more updates, follow me on Instagram at @ye_cheng_art. I’ll be back in New York next spring.\u003C\u002Fp>\n",{"_type":6,"_id":15369,"slug":15370,"name":15371,"index":15372,"date":15373,"thumbnails":15374,"description":18,"footerImage":15381,"categories":15384,"sections":15386},2304,"hakmin-lee","Hakmin Lee",123,"2026-02-06",{"quote":15375,"main":15376,"secondary":15380,"reverse":24},"\u003Cp>“I’m drawn to how the city holds opposites at once: tradition and the contemporary, the Han River and mountains alongside dense concrete skylines…”\u003C\u002Fp>\n",{"image":15377,"background":21,"fit":22},{"_id":15378,"url":15379,"alt":18,"caption":18,"credit":18,"width":276,"height":2831},2305,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-38.jpg",{"image":24,"background":21,"fit":22},{"_id":15382,"url":15383,"alt":18,"caption":18,"credit":18,"width":10060,"height":2172},2306,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FHakmin-Lee-4-scaled.jpg.webp",[15385],{"_id":33,"slug":34,"name":35},[15387,15391,15395,15403,15408,15414,15419,15424,15429,15437,15442,15447,15452,15457,15462,15469,15474,15479,15484,15489],{"questions":15388,"_type":45},[15389],{"question":15117,"answer":15390},"\u003Cp>Hi, my name is Hakmin Lee and I’m from Seoul, South Korea.\u003C\u002Fp>\n",{"questions":15392,"_type":45},[15393],{"question":14646,"answer":15394},"\u003Cp>My practice is grounded in metal craft, and I studied contextual design. I work across furniture, objects, and 2D pieces(drawings and paintings), moving between design and art to explore how material and cultural context shape form and meaning.\u003C\u002Fp>\n",{"variant":176,"images":15396,"_type":73},[15397,15400],{"_id":15398,"url":15399,"alt":18,"caption":18,"credit":18,"width":2214,"height":10305},2308,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-36.jpg",{"_id":15401,"url":15402,"alt":18,"caption":18,"credit":18,"width":2214,"height":10305},2307,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-34.jpg",{"questions":15404,"_type":45},[15405],{"question":15406,"answer":15407},"\u003Cp>What early experiences led you towards design and art?\u003C\u002Fp>\n","\u003Cp>A lot of my early influence came from the subcultures I grew up with cartoons, films, and video games. That curiosity became a creative starting point for me, and it still feeds the imagery and attitude in my work today.\u003C\u002Fp>\n",{"images":15409,"size":84,"_type":57},[15410],{"_id":15411,"url":15412,"alt":18,"caption":18,"credit":18,"width":15413,"height":10305},2309,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-37.jpg",1533,{"questions":15415,"_type":45},[15416],{"question":15417,"answer":15418},"\u003Cp>How has being based in Seoul shaped your way of seeing?\u003C\u002Fp>\n","\u003Cp>Seoul always feels complex and alive, more dynamic than static, with cultural events constantly happening. I’m drawn to how the city holds opposites at once: tradition and the contemporary, the Han River and mountains alongside dense concrete skylines. To me, it’s a place of desire and reflection. That layered mix has definitely shaped my way of seeing, and it influences how I try to translate multi-level cultural context into my work, directly and indirectly.\u003C\u002Fp>\n",{"images":15420,"size":84,"_type":57},[15421],{"_id":15422,"url":15423,"alt":18,"caption":18,"credit":18,"width":15413,"height":6925},2310,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-37.jpg",{"questions":15425,"_type":45},[15426],{"question":15427,"answer":15428},"\u003Cp>Your work ‘deliberately unsettles disciplinary hierarchies,’ what are these hierarchies, and why does it feel important to disrupt them?\u003C\u002Fp>\n","\u003Cp>It started from my interest in a postmodern phenomenon. Where the boundaries between “high” and “low,” art and popular culture are constantly blurring. I don’t think those hierarchies feel stable or even accurate anymore, but they still shape what gets taken seriously. In my work, mixing craft-based making with mass-culture imagery, and moving across furniture, objects, and 2D pieces is a way to reflect that collapse.\u003C\u002Fp>\n",{"variant":1116,"images":15430,"_type":73},[15431,15434],{"_id":15432,"url":15433,"alt":18,"caption":18,"credit":18,"width":1157,"height":6925},2311,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-36.jpg",{"_id":15435,"url":15436,"alt":18,"caption":18,"credit":18,"width":1157,"height":6925},2312,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-37.jpg",{"questions":15438,"_type":45},[15439],{"question":15440,"answer":15441},"\u003Cp>Humor plays a strong role in your work, through references to figurines and cartoons. Where does this come from?\u003C\u002Fp>\n","\u003Cp>Humor comes naturally to me through the kind of imagery I grew up with cartoons, figurines, games, and the casual visual language of mass culture. I like how humor disarms you first But for me it’s not just for fun. It’s a tool to shift expectations, soften hierarchies, and create a little friction between what looks playful and what’s actually being questioned. It lets the work stay approachable while still carrying a critical edge.\u003C\u002Fp>\n",{"images":15443,"size":56,"_type":57},[15444],{"_id":15445,"url":15446,"alt":18,"caption":18,"credit":18,"width":1157,"height":6925},2313,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-36.jpg",{"questions":15448,"_type":45},[15449],{"question":15450,"answer":15451},"\u003Cp>How do you think about function and material in your work?\u003C\u002Fp>\n","\u003Cp>I approach form and technique through a understanding of material. If you don’t know the material, you don’t know its limits and you need to know the limits to understand what’s possible (and what isn’t) in the design and making process. In my case, I’m based in metal, so my work has grown out of a craft-based understanding of it, and I’m interested in expanding into other materials over time.\u003Cbr \u002F>\nFunction can be a traditional way to separate art, design, and craft, but I don’t want my work to be trapped by usefulness. Even when an object has a functional starting point, I’m happy to push it toward aesthetics and more expressive ways.\u003C\u002Fp>\n",{"images":15453,"size":139,"_type":57},[15454],{"_id":15455,"url":15456,"alt":18,"caption":18,"credit":18,"width":9393,"height":6925},2314,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-36.jpg",{"questions":15458,"_type":45},[15459],{"question":15460,"answer":15461},"\u003Cp>Is there a specific piece that felt like a turning point in your practice?\u003C\u002Fp>\n","\u003Cp>Yes. Paw Stool was a turning point for me. It clarified the direction I wanted to take: combining craft-based making with a more playful, pop culture-driven visual language, and letting the work sit comfortably between furniture and sculpture.\u003C\u002Fp>\n",{"variant":64,"images":15463,"_type":73},[15464,15466],{"_id":14902,"url":15465,"alt":18,"caption":18,"credit":18,"width":4193,"height":6925},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-34.jpg",{"_id":15467,"url":15468,"alt":18,"caption":18,"credit":18,"width":4193,"height":6925},2316,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-31.jpg",{"questions":15470,"_type":45},[15471],{"question":15472,"answer":15473},"\u003Cp>Are there objects in your own home that feel like an extension of your identity?\u003C\u002Fp>\n","\u003Cp>Ceramic figures that I made when I was in Philly.\u003C\u002Fp>\n",{"images":15475,"size":56,"_type":57},[15476],{"_id":15477,"url":15478,"alt":18,"caption":18,"credit":18,"width":7520,"height":4193},2317,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-26.jpg",{"questions":15480,"_type":45},[15481],{"question":15482,"answer":15483},"\u003Cp>Outside of your studio practice, what keeps you visually or creatively alert?\u003C\u002Fp>\n","\u003Cp>Popular culture keeps me visually alert—especially contemporary consumer icons and the imagery that circulates through everyday life. I’m always watching how trends, products, characters, and symbols get absorbed and remixed, and that constant shift feeds directly back into my work.\u003C\u002Fp>\n",{"images":15485,"size":84,"_type":57},[15486],{"_id":15487,"url":15488,"alt":18,"caption":18,"credit":18,"width":7520,"height":4193},2318,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-18.jpg",{"questions":15490,"_type":45},[15491],{"question":638,"answer":15492},"\u003Cp>www.studiohak.com\u003Cbr \u002F>\nInstagram @hakmazing\u003C\u002Fp>\n",{"_type":6,"_id":15494,"slug":15495,"name":15496,"index":10843,"date":15497,"thumbnails":15498,"description":18,"footerImage":15510,"categories":15514,"sections":15516},2320,"myles-igwebuike","Myles Igwebuike","2026-02-12",{"quote":15499,"main":15500,"secondary":15506,"reverse":1309},"\u003Cp>“Survival, in this sense, is not merely continuity but the capacity to accommodate contradiction, and cultivate unforeseen trajectories…”\u003C\u002Fp>\n",{"image":15501,"background":137,"fit":139},{"_id":15502,"url":15503,"alt":18,"caption":18,"credit":15504,"width":15505,"height":1612},2884,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FMyles2.jpg","Tunmji B Osibodu",478,{"image":15507,"background":21,"fit":139},{"_id":15508,"url":15509,"alt":18,"caption":18,"credit":15504,"width":15505,"height":1612},2883,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FMyles1.jpg",{"_id":15511,"url":15512,"alt":18,"caption":18,"credit":15513,"width":7520,"height":4193},2321,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-39.jpg","Daniel Obasi",[15515],{"_id":127,"slug":146,"name":147},[15517,15521,15525,15533,15538,15546,15551,15556,15561,15567,15572,15581,15586,15591,15596,15604,15609,15614],{"questions":15518,"_type":45},[15519],{"question":1766,"answer":15520},"\u003Cp>My name is Myles Igwebuike. I am first and fundamentally Nigerian. That identity is not a location but an anchor, the ground from which I interpret material, ritual, and spatial histories. I work between Enugu,Anambra, Lagos, London, and Angola, moving through these geographies as overlapping laboratories of research, intuition, and lived experience.\u003C\u002Fp>\n",{"questions":15522,"_type":45},[15523],{"question":3060,"answer":15524},"\u003Cp>My practice is a polyphonic inquiry into material intelligence, indigenous technological epistemologies, and the architecture of collective memory. My work exists at the intersection where design becomes method, research, and cultural archaeology, producing spatial articulations that are as much about interpretation as fabrication.\u003C\u002Fp>\n",{"variant":1116,"images":15526,"_type":73},[15527,15530],{"_id":15528,"url":15529,"alt":18,"caption":18,"credit":15504,"width":3004,"height":7377},2323,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-35.jpg",{"_id":15531,"url":15532,"alt":18,"caption":18,"credit":15504,"width":3004,"height":7377},2324,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-38.jpg",{"questions":15534,"_type":45},[15535],{"question":15536,"answer":15537},"\u003Cp>You’ve described your work as “radical design thinking” that\u003Cbr \u002F>\nresists containment. When did you first realize design could be a tool for collective repair rather than just an object-making practice?\u003C\u002Fp>\n","\u003Cp>I began to understand design as a reparative instrument when I consciously rooted my practice in my southeastern Nigerian context. That positionality revealed heritage not as fixed memory but as a complexdataset—a field of codes, rituals, and spatial logics that can be analyzed, reinterpreted, and activated. Engaging with this material showed me that design possesses the capacity to mediate relationships,reorganize structures, and reconfigure systems, rather than simply generate form.\u003Cbr \u002F>\nThis insight aligned naturally with Édouard Glissant’s articulation of the right to opacity, which argues for the preservation of complexity rather than its reduction. Approaching heritage through this lens allows me to work with its densities, contradictions, and ambiguities without\u003Cbr \u002F>\nforcing translation or simplification. Instead of extracting clarity, I treat opacity as a productive condition—a source of methodological richness that informs how interventions are conceived and deployed.\u003Cbr \u002F>\nWithin this framework, design becomes a tool for structural repair, not by resolving complexity but by holding space for it. It enables me to build processes that support continuity, relational intelligence, and adaptive futures, while honoring the depth of the knowledge systems I engage. Rooting the work in my context ensures that these interventions are grounded, analytically rigorous, and attuned to the generative potential of inherited epistemologies.\u003C\u002Fp>\n",{"variant":1179,"images":15539,"_type":73},[15540,15543],{"_id":15541,"url":15542,"alt":18,"caption":18,"credit":18,"width":8420,"height":1817},2325,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-38.jpg",{"_id":15544,"url":15545,"alt":18,"caption":18,"credit":18,"width":8420,"height":1817},2326,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-37.jpg",{"questions":15547,"_type":45},[15548],{"question":15549,"answer":15550},"\u003Cp>In your TED Talk, you speak of divergent thinking as survival.\u003Cbr \u002F>\nHow has that philosophy guided you through your projects?\u003C\u002Fp>\n","\u003Cp>Divergent thinking operates in my practice as a strategic modality for navigating, enabling engagement with material logics, and relational networks. Survival, in this sense, is not merely continuity but the capacity to accommodate contradiction, and cultivate unforeseen trajectories.\u003Cbr \u002F>\nI often reflect on ant colonies, where the majority adhere to established patterns, yet a subset breaks away—perceived as erratic or disoriented—only to uncover novel habitats that sustain and expand the collective system. This dynamic resonates with my own approach: I pursue less-traveled paths, guided by a curiosity that is exploratory, attentive, and unencumbered by convention.\u003Cbr \u002F>\nThis perspective intersects with with Nnamdi Azikiwe’s articulation of Nigerian modernity, which valorizes adaptability, synthesis, and engagement with both historical and emergent frameworks. By treating heritage, material forms, and social patterns as living data rather than static archives, I generate interventions that are simultaneously experimental, reparative, and critically grounded.\u003Cbr \u002F>\nEach project functions as a responsive system, capable of adjusting to context while producing temporal structures that sustain pedogological generative possibilities.\u003Cbr \u002F>\nDivergent thinking, therefore, is both method and ethos\u003C\u002Fp>\n",{"images":15552,"size":84,"_type":57},[15553],{"_id":15554,"url":15555,"alt":18,"caption":18,"credit":18,"width":753,"height":7203},2328,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-38.jpg",{"questions":15557,"_type":45},[15558],{"question":15559,"answer":15560},"\u003Cp>The Nigeria Pavilion at the 2025 London Design Biennale received a Special Mention. What story did you most want that pavilion to tell on a global stage?\u003C\u002Fp>\n","\u003Cp>The NIgeria pavilion was conceived to reveal Nigerian design as intrinsically complex and dialogic, resisting reductive or linear characterizations. The project employed a co-creative methodology, framing collaboration as a ritualized practice embedded in collective memory, where knowledge emerges through communal negotiation, shared labor, and iterative exchange. In this context, inherited systems were treated as operational intelligence, not static artifacts.The conceptual anchor of the pavilion is Lejja, a southeastern community historically distinguished by its iron-smelting practice. While the technical craft has waned, the interwoven social and regulatory structures it produced persist, demonstrating how localized systems can organize labor, sustain resilience, and encode relational strategies. By magnifying these untold stories, the pavilion proposed Nigeria through a southeastern lens, extrapolating insights from Lejja to reveal how localized practices inform broader epistemic formations. At the same time, it acknowledged Nigeria as a polycentric terrain, where multiple regions generate distinctive frameworks of innovation and cultural logic.\u003Cbr \u002F>\nVisitors navigated a responsive, relational environment, where architecture functions as a conduit for memory, narratives intersect dynamically, and design operates as a living repository of evolving collective identity. By emphasizing collaboration as both ancestral and contemporary, the pavilion proposed that the advancement of African design emerges through shared cognition, iterative experimentation, and sustained communal practice, situating creativity within the continuum of inherited and adaptive systems.\u003Cbr \u002F>\nI am profoundly grateful to my collaborators, whose dedication and vision made this project possible.\u003C\u002Fp>\n",{"images":15562,"size":84,"_type":57},[15563],{"_id":15564,"url":15565,"alt":18,"caption":18,"credit":15566,"width":1759,"height":4193},2329,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-37.jpg","London Design Biennale",{"questions":15568,"_type":45},[15569],{"question":15570,"answer":15571},"\u003Cp>With projects spanning World Economic Forum (WEF) Davos,\u003Cbr \u002F>\nnomadic african studio(NAS), Efie Gallery, RCA archives, Angola’s museum of anthropology and soundscapes for Sotheby’s, how do you adapt your design language across such different contexts?\u003C\u002Fp>\n","\u003Cp>I respond to each context by listening closely—to place, history, and people—and by designing experiences that are inherently shared and generative. Whether in archives, public spaces, or cultural institutions, I aim to make design a lived, sensory practice that amplifies local knowledge, honors vernacular methods, and engages responsibly with material and environmental realities. Form, medium, and genre remain flexible, always shaped through collaboration and guided by the stories, systems, and communities that give a project meaning. In this way, the process itself becomes a site of co-creation\u003C\u002Fp>\n",{"first":15573,"second":15576,"third":15578,"variant":150,"_type":206},{"_id":15574,"url":15575,"alt":18,"caption":18,"credit":18,"width":6008,"height":4193},2330,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-32.jpg",{"_id":12537,"url":15577,"alt":18,"caption":18,"credit":18,"width":2766,"height":4193},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-37.jpg",{"_id":15579,"url":15580,"alt":18,"caption":18,"credit":18,"width":2766,"height":4193},2332,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-35.jpg",{"questions":15582,"_type":45},[15583],{"question":15584,"answer":15585},"\u003Cp>You work across disciplines. How do you see material as a driver of ideas?\u003C\u002Fp>\n","\u003Cp>I see materials as active agents in shaping thought. Working with them is a way of thinking through making: choices of weight, texture, resonance, or flexibility influence not just aesthetics, but how ideas are tested and past histories can be experienced\u003C\u002Fp>\n",{"images":15587,"size":84,"_type":57},[15588],{"_id":15589,"url":15590,"alt":18,"caption":18,"credit":18,"width":6008,"height":4193},2333,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-27.jpg",{"questions":15592,"_type":45},[15593],{"question":15594,"answer":15595},"\u003Cp>You’ve worked between Enugu, fes, luanda Lagos, London, and Sharjah. How does changing geography influence your design?\u003C\u002Fp>\n","\u003Cp>Change has been a defining presence in my life—from moving between the U.S. and Nigeria during my formative years to living later in the U.K.—shaping how I understand both place and self. Over time, I’ve come to inhabit a form of intentional nomadism, where each relocation is an opportunity to interrogate the intersections between geography, memory, and practice. In my work, I trace how southeastern contexts resonate across space and time, exploring overlaps, distinctions, and tensions, and considering how these dynamics inform not only the environments I engage with, but also the ways I inhabit and understand them.\u003C\u002Fp>\n",{"variant":1116,"images":15597,"_type":73},[15598,15601],{"_id":15599,"url":15600,"alt":18,"caption":18,"credit":18,"width":3821,"height":6527},2334,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-19.jpg",{"_id":15602,"url":15603,"alt":18,"caption":18,"credit":18,"width":3821,"height":6527},2335,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-14.jpg",{"questions":15605,"_type":45},[15606],{"question":15607,"answer":15608},"\u003Cp>If your practice is “unfinished by design,” what do you hope it continues to unfold into over the next decade?\u003C\u002Fp>\n","\u003Cp>Over the next decade, I hope my practice continues to unfold into collaborative world-building—engaging with heritage not only as  inherited knowledge but as active design materials. I envision projects that create plural futures, where communities co-generate meaning, A utopia where design becomes a platform for shared imagination.\u003C\u002Fp>\n",{"images":15610,"size":84,"_type":57},[15611],{"_id":15612,"url":15613,"alt":18,"caption":18,"credit":18,"width":12815,"height":2630},2336,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-9.jpg",{"questions":15615,"_type":45},[15616],{"question":638,"answer":15617},"\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fmylesigwe\u002F?g=5\"> @ myles igwe\u003C\u002Fa>\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fnjiko_co\u002F\">@ njiko_co\u003C\u002Fa>\u003Cbr \u002F>\n\u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fntejestudio\u002F\">@ ntejestudios\u003C\u002Fa>\u003Cbr \u002F>\n\u003Ca href=\"http:\u002F\u002Fwww.njiko.co\">www.njiko.co\u003C\u002Fa> \u002F ntejestudios.com is under construction if you’re good with web design dm me!\u003C\u002Fp>\n",{"_type":6,"_id":15619,"slug":15620,"name":15621,"index":10835,"date":15622,"thumbnails":15623,"description":18,"footerImage":15633,"categories":15637,"sections":15639},2889,"tondolo","Tondolo","2026-02-17",{"quote":15624,"main":15625,"secondary":15629,"reverse":24},"\u003Cp>“Texture is something that can carry so much information. It can be memories, sensations, feelings, notions, ideas and so much more.”\u003C\u002Fp>\n",{"image":15626,"background":21,"fit":22},{"_id":15627,"url":15628,"alt":18,"caption":18,"credit":18,"width":8701,"height":3717},2890,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1-6.jpg",{"image":15630,"background":21,"fit":22},{"_id":15631,"url":15632,"alt":18,"caption":18,"credit":18,"width":8701,"height":3679},2893,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-6.jpg",{"_id":15634,"url":15635,"alt":18,"caption":18,"credit":18,"width":8701,"height":15636},2891,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-6.jpg",541,[15638],{"_id":240,"slug":2416,"name":2417},[15640,15644,15648,15653,15658,15663,15668,15673,15678,15683,15691,15696,15704,15709,15714,15719,15727,15732,15737],{"questions":15641,"_type":45},[15642],{"question":1766,"answer":15643},"\u003Cp>my name is alessandro stefano tondolo, i’m half italian, half mexican but born and raised in basel, switzerland. I moved to london for my studies and I am now based here.\u003C\u002Fp>\n",{"questions":15645,"_type":45},[15646],{"question":3060,"answer":15647},"\u003Cp>i do fashion, it’s inspired by nature and my cultural background. Finding beauty in the things that are often overlooked\u003C\u002Fp>\n",{"variant":176,"images":15649,"_type":73},[15650],{"_id":15651,"url":15652,"alt":18,"caption":18,"credit":18,"width":4623,"height":1632},2894,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-6.jpg",{"questions":15654,"_type":45},[15655],{"question":15656,"answer":15657},"\u003Cp>What first drew you to fashion?\u003C\u002Fp>\n","\u003Cp>i think it was a combination of my older brothers GQ magazines as well as my love for sci-fi and fantasy.\u003Cbr \u002F>\nI would draw and sketch my own characters but would catch my self focusing on their attire rather than their faces.\u003C\u002Fp>\n",{"questions":15659,"_type":45},[15660],{"question":15661,"answer":15662},"\u003Cp>You describe Tondolo as fashion in coordination with ecosystems and humanity. Can you talk about how this philosophy first came about?\u003C\u002Fp>\n","\u003Cp>As much as I love fashion and see it as another medium for art and more importantly a form of expression for the individual, it is unfortunately build on a consumeristic system.\u003C\u002Fp>\n\u003Cp>The fact that it is a never ending machine producing so much waste makes it difficult for me to create a brand in good conscience. Knowing how much microplastic is being thrown around just because a nylon tshirt is cheaper to make than a cotton one is slightly infuriating. Clothes have lost their value because we are used to super cheap alternatives. Society thinks it is okay to pay 5-10 pounds for a t-shirt, so everything above is difficult to justify.\u003C\u002Fp>\n\u003Cp>Of course the majority is not able to buy expensive or “sustainable” clothes but we have been conditioned to buy more frequently with all the constant trend shifts. So to keep up, the majority lowers their standarts.\u003C\u002Fp>\n\u003Cp>As a student and nature enthusiast you start to inform yourself and notice how many things “seem” sustainable but end up just being a greenwashing tactic for bigger corporations.\u003C\u002Fp>\n\u003Cp>Next to the sustianable factor, there is the humanitarian factor that fashion tends to ignore. Cheap items come with cheap labour and unfair conditions. But the uninformed consumer often does not have the privilege to conserm themselves with these facts.\u003C\u002Fp>\n\u003Cp>Being confronted with all of this information I try to be as understanding and careful as I can, when creating and making fashion.\u003C\u002Fp>\n\u003Cp>I try to use what is around me, things that are seen as worthless (cheap cotton, dead stock or off cuts) and give them a new life by giving it time and care.\u003C\u002Fp>\n",{"images":15664,"size":84,"_type":57},[15665],{"_id":15666,"url":15667,"alt":18,"caption":18,"credit":18,"width":4623,"height":1632},2895,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-6.jpg",{"questions":15669,"_type":45},[15670],{"question":15671,"answer":15672},"\u003Cp>In your “off cut” pieces, you transformed leftover toiles into garments resembling bark. How do you see texture as a language for telling stories?\u003C\u002Fp>\n","\u003Cp>These things (most experiments) often happen out of my hate for throwing away things which in my eye still have a second chance in them. My father grew up in a working class home and they never threw out food. they always found ways to incoorporate them into new amazing dishes. To this day he manages to make some of the best food with things that people would usually throw away.\u003C\u002Fp>\n\u003Cp>Texture is something that can carry so much information. It can be memories, sensations, feelings, notions, ideas and so much more.\u003C\u002Fp>\n\u003Cp>But it is also something that lets you be unique. If you look at bottegas intercato weave, or issey’s pleats (which my brand does get compared to quite a bit) they managed to create a logo without needing a graphic one. Something that speaks for the brand solely with shapes and forms. something that we also strive to do.\u003C\u002Fp>\n\u003Cp>unfortunately menswear is less experimental when it comes to the whole sale side, where most men tend to prioritize practicality, comfort, durability and simplicity over self expression. So our goal is to find a leanway inbetween all of that.\u003C\u002Fp>\n\u003Cp>We want to emulate structures and textures that are familiar to us, but we don’t really know why at first glance.\u003C\u002Fp>\n\u003Cp>So we love to get inspired by nature; tree barks, leaves, mushroom gills etc. to try and duplicate these forms in an approachable way.\u003Cbr \u002F>\nThe idea is to evoke a feeling of familiarity\u003C\u002Fp>\n",{"images":15674,"size":84,"_type":57},[15675],{"_id":15676,"url":15677,"alt":18,"caption":18,"credit":18,"width":5735,"height":1632},2896,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-6.jpg",{"questions":15679,"_type":45},[15680],{"question":15681,"answer":15682},"\u003Cp>In what ways does designing from existing garments change your design process compared to starting with fresh materials?\u003C\u002Fp>\n","\u003Cp>We usually create the shape of the garments first to see where it can fit in a collection. sometimes it starts in a heavy cotton twill but it might end up being made from washed raw silk or even jersey.\u003Cbr \u002F>\nAs a young brand we need to be careful what the buyers will get and what will sell well. Also as a smaller brand we need to make sure that we use the same material in different products as to reach minimum amounts in fabric consumption. So it becomes more a financial and practical decision rather than solely artistic.\u003C\u002Fp>\n",{"variant":1179,"images":15684,"_type":73},[15685,15688],{"_id":15686,"url":15687,"alt":18,"caption":18,"credit":18,"width":10008,"height":2728},2897,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-6.jpg",{"_id":15689,"url":15690,"alt":18,"caption":18,"credit":18,"width":10008,"height":2728},2898,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-6.jpg",{"questions":15692,"_type":45},[15693],{"question":15694,"answer":15695},"\u003Cp>How do you begin to imagine the narrative of a new collection?\u003C\u002Fp>\n","\u003Cp>So far we have had this connective root. it started with mycelium then it went up to the roots of the trees, the bark and tree trunks, the leaves and now for aw26 we are looking at arboreal flowers. Flowers that grow on trees. It isn’t only the visual inspiration we get from them but also their position in our environment that interests me. Arboreal flowers stand for protection, as little insects and animals tend to use them as protection, food or cocoons. So we look at different ways of opening up a garment, layers, protection, wrapping etc.\u003Cbr \u002F>\nNext to that we combine it with shapes and forms from my mexican and italian herritage to creat this little microcosm.\u003C\u002Fp>\n",{"variant":1179,"images":15697,"_type":73},[15698,15701],{"_id":15699,"url":15700,"alt":18,"caption":18,"credit":18,"width":10008,"height":2728},2899,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-6.jpg",{"_id":15702,"url":15703,"alt":18,"caption":18,"credit":18,"width":10008,"height":2728},2900,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-6.jpg",{"questions":15705,"_type":45},[15706],{"question":15707,"answer":15708},"\u003Cp>Is there a garment or collection that you feel marked a turning point in your work?\u003C\u002Fp>\n","\u003Cp>Unfortunately, not yet. I mean maybe, but my ambitions are rather high. Potentially the bomber jackets and the gilled trousers which helped me to get into Dover street market and ssense after finishing my MA. But i haven’t had the chance to get someone i really look up to and make them a custom outift. So hopefully this year we get, kendrick, bad bunny, xcx, rosalia or chalamet to wear out stuff 😉\u003C\u002Fp>\n",{"images":15710,"size":84,"_type":57},[15711],{"_id":15712,"url":15713,"alt":18,"caption":18,"credit":18,"width":6419,"height":2831},2901,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-6.jpg",{"questions":15715,"_type":45},[15716],{"question":15717,"answer":15718},"\u003Cp>Each of your pieces often include textures and small details inspired by nature. Outside of fashion, are there details you find yourself drawn to?\u003C\u002Fp>\n","\u003Cp>Yes! so so many different things. I think that is the beauty of life and creativity. If you are open enough, you can get inspired by the cracks on a concrete floor.\u003Cbr \u002F>\nOur insipiration comes mainly outside of fashion. It is a lot of aztec and mayan culture that I tend to look at for inspiration. Nature and biology books, often vintage ones i found on the internet. military wear, old anime, art, different painters as well as sculptors.\u003Cbr \u002F>\nAnd obviously nature itself. I love to just go to kew gardens and have a whole day where i stroll around and take a milion pictures.\u003Cbr \u002F>\nthere is obviously more things that inspire me, inclduing a lot of music but i feel like if i list everything we’ll be here for a while.\u003C\u002Fp>\n",{"variant":1116,"images":15720,"_type":73},[15721,15724],{"_id":15722,"url":15723,"alt":18,"caption":18,"credit":18,"width":628,"height":2831},2902,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F12-4.jpg",{"_id":15725,"url":15726,"alt":18,"caption":18,"credit":18,"width":628,"height":2831},2903,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F13-3.jpg",{"questions":15728,"_type":45},[15729],{"question":15730,"answer":15731},"\u003Cp>What do you hope people feel within themselves when they wear garments shaped by natural forms?\u003C\u002Fp>\n","\u003Cp>Most importantly I want them to feel comfortable, secure and well. I want them to feel good, sexy even. The clothing should become an extension of them!\u003Cbr \u002F>\nI hope they wear the clothes a lot, to the point where you can see that they become clothes with character and life. Just as nature, i want my clothes to have a purpose even if its just solely emotional to the wearer. But the pieces I like most are often pieces that were from my father or clothes I got, when i was with people that mean a lot to me.\u003C\u002Fp>\n",{"images":15733,"size":84,"_type":57},[15734],{"_id":15735,"url":15736,"alt":18,"caption":18,"credit":18,"width":1369,"height":2831},2904,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F14-2.jpg",{"questions":15738,"_type":45},[15739],{"question":638,"answer":15740},"\u003Cp>They can find me on www.tondolo.co.uk on instagram, Dover Street Market London and Ginza, Opener in Korea, Babys Alright in Japan, Style Fusion in Taiwan and APOC store in London. And hopefully in many more stores\u003C\u002Fp>\n",{"_type":6,"_id":15742,"slug":15743,"name":15744,"index":10898,"date":15745,"thumbnails":15746,"description":18,"footerImage":15756,"categories":15759,"sections":15761},2338,"lois-wall","Lois Wall","2026-02-23",{"quote":15747,"main":15748,"secondary":15752,"reverse":24},"\u003Cp>“The work is a lot about observing… but also making use of uncertainties and risks that grow meaningful over time…”\u003C\u002Fp>\n",{"image":15749,"background":21,"fit":139},{"_id":15750,"url":15751,"alt":18,"caption":18,"credit":18,"width":4994,"height":5104},2339,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-38.jpg",{"image":15753,"background":21,"fit":22},{"_id":15754,"url":15755,"alt":18,"caption":18,"credit":18,"width":4994,"height":5104},2340,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-36.jpg",{"_id":15757,"url":15758,"alt":18,"caption":18,"credit":18,"width":4994,"height":5104},2341,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-40.jpg",[15760],{"_id":240,"slug":2416,"name":2417},[15762,15766,15770,15775,15780,15785,15790,15797,15802,15807,15812,15820,15825,15830,15835,15842,15847,15851,15856,15861,15866,15871,15879],{"questions":15763,"_type":45},[15764],{"question":15117,"answer":15765},"\u003Cp>My name is Lois Wall. I am Dutch and currently based in between Rotterdam and Antwerp.\u003C\u002Fp>\n",{"questions":15767,"_type":45},[15768],{"question":14646,"answer":15769},"\u003Cp>I create and design garments that emerge out of experimentation with fabric manipulation and shape research. The work is a lot about observing, using what is already there, but also making use of uncertainties and risks that grow meaningful over time.\u003C\u002Fp>\n",{"images":15771,"size":84,"_type":57},[15772],{"_id":15773,"url":15774,"alt":18,"caption":18,"credit":18,"width":4994,"height":5104},2343,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-39.jpg",{"questions":15776,"_type":45},[15777],{"question":15778,"answer":15779},"\u003Cp>What initially led you towards fashion?\u003C\u002Fp>\n","\u003Cp>I think the great thing about fashion is that it’s about identity and it always relates to everything that is happening around it, because it is ultimately about people. I’ve always had a very active imagination, fantasizing about how I could dress myself, or the world around me. So I sat a lot, drawing these observations and experimenting with my own style. I liked looking in vintage stores, seeing clothes that already had a life, how they reflected their time and were crafted with so much love and care, almost as if a truly eccentric person with good taste wore those clothes. I attached myself to this fascination and it became part of a lot of decisions I made later on that all leaded to it.\u003C\u002Fp>\n",{"images":15781,"size":84,"_type":57},[15782],{"_id":15783,"url":15784,"alt":18,"caption":18,"credit":18,"width":4994,"height":3520},2344,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-39.jpg",{"questions":15786,"_type":45},[15787],{"question":15788,"answer":15789},"\u003Cp>Your work largely exists out of experimentation, did this approach emerge through fashion, or has experimentation always been part of who you are?\u003C\u002Fp>\n","\u003Cp>I think the experimentation has always\u003Cbr \u002F>\ncomplemented my way of working where I like to start my process with a surreal idea and a bit of uncertainty of whether it can be realized or not. But when it comes to working with a body, there’s always a duality between practicality and beauty. Clothes are meant to be worn, not be hung in a museum. The experimentation often comes from that non-sancity in fashion. How far can I go within shape or material, while still being wearable.\u003C\u002Fp>\n",{"variant":1116,"images":15791,"_type":73},[15792,15794],{"_id":2444,"url":15793,"alt":18,"caption":18,"credit":18,"width":1530,"height":4127},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-38.jpg",{"_id":15795,"url":15796,"alt":18,"caption":18,"credit":18,"width":1530,"height":4127},2346,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-39.jpg",{"questions":15798,"_type":45},[15799],{"question":15800,"answer":15801},"\u003Cp>Your forms distort and challenge conventional fashion. What do you think traditional fashion silhouettes assume about the body, and what are you trying to question through distortion?\u003C\u002Fp>\n","\u003Cp>I think the distortion comes from a bittersweet relationship I have with fashion. On one side the appreciation for the theatricality, the intense amounts of beauty and craft that the system embodies. But it also clashes with ideals, as a very dictating system, that tells you what is right and what is wrong. Disproportioning shapes is a way for me to reflect on this and to push myself to keep playing with how garments relate to the body, creating something that is aesthetically pleasing and attractive, while also introducing an awkward or critical element.\u003C\u002Fp>\n",{"images":15803,"size":56,"_type":57},[15804],{"_id":15805,"url":15806,"alt":18,"caption":18,"credit":18,"width":1530,"height":3078},2347,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-38.jpg",{"questions":15808,"_type":45},[15809],{"question":15810,"answer":15811},"\u003Cp>Is there a particular experiment that fundamentally changed the way you think about fashion or construction?\u003C\u002Fp>\n","\u003Cp>The experiment with material has expanded the way I approach fashion. When working with a certain textile, for example fur, I like to deconstruct its characteristics and explore ways to replicate its essence without using the material itself. I apply the same method for prints: reinterpreting stripes so they remain a continuous pattern without relying on pre-printed striped fabrics. These are examples used for details, but are also interesting to apply in construction, especially when considering new digital approaches 3D printing and other technologies that challenge traditional methods of making.\u003C\u002Fp>\n\u003Cp>This experiment with ‘faking’ existing has opened new doors for me in how I look at fashion, because like this you can always use what is already there but have a completely new take on it.\u003C\u002Fp>\n",{"variant":64,"images":15813,"_type":73},[15814,15817],{"_id":15815,"url":15816,"alt":18,"caption":18,"credit":18,"width":1530,"height":3078},2348,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-38.jpg",{"_id":15818,"url":15819,"alt":18,"caption":18,"credit":18,"width":1530,"height":3078},2349,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-36.jpg",{"questions":15821,"_type":45},[15822],{"question":15823,"answer":15824},"\u003Cp>When starting a collection, how important are references?\u003C\u002Fp>\n","\u003Cp>A collection is a result of choices in colour, shape, and material that somehow fit together as one. Every element has to be considered layer by layer. References can be essential in guiding these choices, and they are especially helpful because they create a framework that limits endless possibilities. You could go in hundreds of different directions, but selecting a specific visual or conceptual reference helps focus the process and shape the final result. At the same time, it is important to follow your own urges. References should not always tell you what is right and what is wrong, but they serve as a way to support and enrich the collection\u003C\u002Fp>\n",{"images":15826,"size":84,"_type":57},[15827],{"_id":15828,"url":15829,"alt":18,"caption":18,"credit":18,"width":8033,"height":3078},2350,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-33.jpg",{"questions":15831,"_type":45},[15832],{"question":15833,"answer":15834},"\u003Cp>One of your collections of seven looks explores internet culture and the way subcultures have shifted into surface level “core” aesthetics. Can you tell us how this project began for you and what you seek to reveal about this shift?\u003C\u002Fp>\n","\u003Cp>This collection was a lot about noticing. Looking at what is given and translating it in to a new reality. Looking closely at my own generation and the way we interact with internet culture, we all seem to get a bit lost in the endless aesthetics of how we want to put ourselves in the world. Individualism is growing, but Instead looking deeper inside of ourselves, people seem to have more and more distance from the things they buy and wear. In the collection, I wanted to make garments that visually looked disconnected from their wearer. I was working with transparent casts and 3D-prints that symbolized the distance or emptiness. I placed the fabric or garments inside these shapes, so that it looks like it’s being worn by a person, but actually its inside of this empty transparent shell. All silhouettes visualize\u003Cbr \u002F>\na recognizable aesthetic, but they don’t fully connect and feel separated from the person wearing them.\u003C\u002Fp>\n",{"variant":1179,"images":15836,"_type":73},[15837,15840],{"_id":15838,"url":15839,"alt":18,"caption":18,"credit":18,"width":3952,"height":7441},2351,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-20.jpg",{"_id":5030,"url":15841,"alt":18,"caption":18,"credit":18,"width":3952,"height":7441},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-28.jpg",{"questions":15843,"_type":45},[15844],{"question":15845,"answer":15846},"\u003Cp>Your Aunt Mo collection pays tribute to your Aunt Mo, a soapstone sculptor who continued to create despite her blindness. What part of her did you translate into your collection?\u003C\u002Fp>\n","\u003Cp>The part of her that I tried translating in my collection, is how she dealed with limitations. In the first place, very directly by taking her techniques as a soapstone sculptor. When making a soapstone sculptures, you are limited to the shape of the stone you are using, resulting often in a not fully continuous figure. I wanted to use these shapes for my collection. Every look symbolizes a different shape of her sculptures. Next to this, the limitations of her blindness made tactility important. I tried working with shapes and materials with a lot of structure and clear lines. Like this, even without vision, the garments can be vividly imagined through the hands.\u003C\u002Fp>\n",{"images":15848,"size":56,"_type":57},[15849],{"_id":5503,"url":15850,"alt":18,"caption":18,"credit":18,"width":3952,"height":6432},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-15.jpg",{"images":15852,"size":84,"_type":57},[15853],{"_id":15854,"url":15855,"alt":18,"caption":18,"credit":18,"width":8722,"height":3044},2354,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-10.jpg",{"questions":15857,"_type":45},[15858],{"question":15859,"answer":15860},"\u003Cp>Looking back at your work so far, what do you think your inspirations reveal about how you see the world?\u003C\u002Fp>\n","\u003Cp>The way I can absorb this world and have access to it, being able to guide observations in to an idea and a result that is my own, is a very precious and free privilege to have.\u003C\u002Fp>\n",{"images":15862,"size":56,"_type":57},[15863],{"_id":15864,"url":15865,"alt":18,"caption":18,"credit":18,"width":2144,"height":3044},2355,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16-4.jpg",{"questions":15867,"_type":45},[15868],{"question":15869,"answer":15870},"\u003Cp>What do you think keeps you inspired?\u003C\u002Fp>\n","\u003Cp>I like to use painting as a way to stay inspired, because it often feels as a conversation I have with myself while I am doing it. Unlike making garments, which often feels more like making it for someone else, painting and drawing creates a space to let my imagination wander and put down ideas that usually hit me at the most unexpected moments.\u003C\u002Fp>\n",{"variant":1116,"images":15872,"_type":73},[15873,15876],{"_id":15874,"url":15875,"alt":18,"caption":18,"credit":18,"width":11332,"height":3044},2356,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F17-1.jpg",{"_id":15877,"url":15878,"alt":18,"caption":18,"credit":18,"width":11332,"height":3044},2357,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F18.jpg",{"questions":15880,"_type":45},[15881],{"question":638,"answer":15882},"\u003Cp>For now, on Instagram: @loiswall\u003C\u002Fp>\n",{"_type":6,"_id":15884,"slug":15885,"name":15886,"index":10857,"date":15887,"thumbnails":15888,"description":18,"footerImage":15895,"categories":15898,"sections":15900},2360,"calissa-teiniker","Calissa Teiniker","2026-03-04",{"quote":15889,"main":15890,"secondary":15894,"reverse":24},"\u003Cp>“I became very attentive to the body not just as a silhouette, but as a landscape of tensions and vulnerabilities…”\u003C\u002Fp>\n",{"image":15891,"background":137,"fit":22},{"_id":15892,"url":15893,"alt":18,"caption":18,"credit":18,"width":3994,"height":1077},2361,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-37.jpg",{"image":24,"background":21,"fit":22},{"_id":15896,"url":15897,"alt":18,"caption":18,"credit":18,"width":11332,"height":1077},2362,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-41.jpg",[15899],{"_id":240,"slug":2416,"name":2417},[15901,15905,15909,15914,15919,15924,15929,15934,15939,15944,15949,15955,15960,15966,15971,15976,15981,15989],{"questions":15902,"_type":45},[15903],{"question":1766,"answer":15904},"\u003Cp>Calissa Teiniker, originally from Auckland, New Zealand. Based in Paris, France.\u003C\u002Fp>\n",{"questions":15906,"_type":45},[15907],{"question":3060,"answer":15908},"\u003Cp>My practice involves creating experimental, artisanal knitted textiles using different types of knitting machines.\u003C\u002Fp>\n",{"images":15910,"size":84,"_type":57},[15911],{"_id":15912,"url":15913,"alt":18,"caption":18,"credit":18,"width":3994,"height":1077},2363,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-39.jpg",{"questions":15915,"_type":45},[15916],{"question":15917,"answer":15918},"\u003Cp>Growing up, what early inspirations led you toward fashion?\u003C\u002Fp>\n","\u003Cp>I used to watch a lot of fashion shows on YouTube growing up. Alexander McQueen was my biggest inspiration. I started designing and sewing when I was seventeen years old.\u003C\u002Fp>\n",{"images":15920,"size":56,"_type":57},[15921],{"_id":15922,"url":15923,"alt":18,"caption":18,"credit":18,"width":4879,"height":3386},2371,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-29.jpg",{"questions":15925,"_type":45},[15926],{"question":15927,"answer":15928},"\u003Cp>How did knitwear first find its way into your practice?\u003C\u002Fp>\n","\u003Cp>Originally, I was mostly interested in tailoring. However, I had some knitwear classes during my Bachelor’s degree and fell in love with the process and the ability to experiment and create something entirely new.\u003C\u002Fp>\n",{"questions":15930,"_type":45},[15931],{"question":15932,"answer":15933},"\u003Cp>Your studies were supervised by Hussein Chalayan, whose work often responds to research into society and technology rather than simply decorative garments. How did this experience play into your direction?\u003C\u002Fp>\n","\u003Cp>His mentorship was definitely both conceptual and practical. I gained a lot of insight from him in regard to finding the balance between the two. He strongly encouraged internal analysis and the act of bringing a personal dimension into my design process.\u003C\u002Fp>\n",{"images":15935,"size":84,"_type":57},[15936],{"_id":15937,"url":15938,"alt":18,"caption":18,"credit":18,"width":990,"height":4894},2364,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-40.jpg",{"questions":15940,"_type":45},[15941],{"question":15942,"answer":15943},"\u003Cp>Your latest collection feels deeply attuned to the intricacies of the body, almost as if anatomy itself is translated into knit. How did this sensitivity to the body guide your design process?\u003C\u002Fp>\n","\u003Cp>I’ve always thought of knitwear as something inherently intimate – it lives directly on the body, it stretches, it responds, it remembers. For this collection, I became very attentive to the body not just as a silhouette, but as a landscape of tensions and vulnerabilities. I was thinking about muscle, bone, and skin – about what is structural and what is soft – and how knit, as a medium, can express both simultaneously.\u003Cbr \u002F>\nI chose an IUD as the object that drove and inspired the project. The IUD is a tool for protection, which conceptually translates into something armor-like when externalized. The knitwear for this project was intended to resemble a form of armor. It uses techniques that create structure and volume while still remaining stretchy and comfortable to wear.\u003C\u002Fp>\n",{"images":15945,"size":84,"_type":57},[15946],{"_id":15947,"url":15948,"alt":18,"caption":18,"credit":18,"width":3938,"height":155},2365,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-39.jpg",{"images":15950,"size":56,"_type":57},[15951],{"_id":15952,"url":15953,"alt":18,"caption":18,"credit":15954,"width":10639,"height":3171},2366,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-40.jpg","Photography: Francis De La Croix Studio\u002FModel: @ing_vild",{"questions":15956,"_type":45},[15957],{"question":15958,"answer":15959},"\u003Cp>Your bachelor collection, “From Demons to Desires” reinterprets the Seven Deadly Sins as individual characters. What led you to choosing this framework, and what do they mean to you?\u003C\u002Fp>\n","\u003Cp>I wanted the collection to serve not only as an exploration of the visual language associated with moral and cultural archetypes, but also as a statement on the modern reevaluation of morality, individuality, and self-expression. Each piece aimed to communicate a specific “sin” as both a challenge to and an embrace of contemporary values, encouraging viewers to question their own perceptions of vice and virtue and to see these qualities as complex facets of human identity.\u003C\u002Fp>\n",{"images":15961,"size":7031,"_type":57},[15962],{"_id":15963,"url":15964,"alt":18,"caption":18,"credit":15965,"width":11677,"height":293},2367,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-39.jpg","Creative direction and production: @gentl_studio @hermione_flynn Photography: @evelyn_bencicova Styling: Erica Margiel Hair and Makeup: @bloomiamor Model: @minibrillito",{"questions":15967,"_type":45},[15968],{"question":15969,"answer":15970},"\u003Cp>For the g10 collective show, you were invited as a guest designer to create a capsule collection around the theme “Second Skin.” How did you approach translating this idea of intimacy to the body?\u003C\u002Fp>\n","\u003Cp>“Second Skin” is about the intimate interaction between garments and the skin beneath them. I wanted to create knitted garments as a tool for body autonomy, in which the wearer is prioritized and empowered. The unique silhouetting allows the wearer to accentuate curves, folds, scars, and other often-hidden elements of the body in a responsive way. This is achieved through ladders in the knitwear, tuck stitching that creates almost crustacean-like shells, and backless or sleeveless sections – areas where the skin shows through.\u003C\u002Fp>\n",{"images":15972,"size":84,"_type":57},[15973],{"_id":15974,"url":15975,"alt":18,"caption":18,"credit":18,"width":8792,"height":5585},2368,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-39.jpg",{"questions":15977,"_type":45},[15978],{"question":15979,"answer":15980},"\u003Cp>What are you interested in exploring next in future collections?\u003C\u002Fp>\n","\u003Cp>I am interested in continuing to push the boundaries of knitwear while keeping my practice artisanal. I think it is a challenge for young artists and designers to make this work within the current state of the industry. However, I also believe there is something special in the shift away from mass production toward something slower and handcrafted.\u003C\u002Fp>\n",{"variant":1179,"images":15982,"_type":73},[15983,15986],{"_id":15984,"url":15985,"alt":18,"caption":18,"credit":18,"width":8792,"height":5585},2369,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-37.jpg",{"_id":15987,"url":15988,"alt":18,"caption":18,"credit":18,"width":8792,"height":5585},2370,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-34.jpg",{"questions":15990,"_type":45},[15991],{"question":638,"answer":15992},"\u003Cp>My Instagram is \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcalissateiniker\u002F?g=5\">@calissateiniker\u003C\u002Fa> for current work. I am currently completing my Master of Arts in Knitwear Design at the Institut Français de la Mode in Paris, France. You can find me there for the next year and a half.\u003C\u002Fp>\n",{"_type":6,"_id":15994,"slug":15995,"name":15996,"index":10861,"date":15997,"thumbnails":15998,"description":18,"footerImage":16007,"categories":16011,"sections":16013},2373,"salvatore-pione","Salvatore Pione","2026-03-08",{"quote":15999,"main":16000,"secondary":16006,"reverse":24},"\u003Cp>“I became deeply aware of how tradition can be both comforting and restrictive… My work often exists in that tension between attachment and resistance…”\u003C\u002Fp>\n",{"image":16001,"background":21,"fit":22},{"_id":16002,"url":16003,"alt":18,"caption":18,"credit":18,"width":16004,"height":16005},2374,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-40.jpg",606,421,{"image":24,"background":21,"fit":22},{"_id":16008,"url":16009,"alt":18,"caption":18,"credit":16010,"width":4879,"height":435},2375,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-42.jpg","Photography: @gray_carmen",[16012],{"_id":127,"slug":146,"name":147},[16014,16018,16022,16027,16032,16037,16042,16047,16052,16061,16066,16072,16077,16082,16087,16092,16097,16102,16107,16112],{"questions":16015,"_type":45},[16016],{"question":1766,"answer":16017},"\u003Cp>Ciao, I’m Salvatore. I’m originally from Sicily, where I grew up, and for the past eight years I’ve been living and working between Sicily and London.\u003C\u002Fp>\n",{"questions":16019,"_type":45},[16020],{"question":3060,"answer":16021},"\u003Cp>I’m an interdisciplinary artist working primarily with sculpture and installation. My work explores the tension between modernity and tradition, and how memory and heritage shape identity.\u003Cbr \u002F>\nMy practice is deeply material-driven. Labour is central to what I do, not only as a physical act but as a process of self-discovery. I work with artisanal techniques such as wood carving and ironwork, using making as a cultural bridge that keeps me connected to my Sicilian roots.\u003C\u002Fp>\n",{"images":16023,"size":56,"_type":57},[16024],{"_id":16025,"url":16026,"alt":18,"caption":18,"credit":18,"width":16004,"height":1305},2376,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-38.jpg",{"questions":16028,"_type":45},[16029],{"question":16030,"answer":16031},"\u003Cp>What do you think led you into the world of art?\u003C\u002Fp>\n","\u003Cp>It always felt natural somehow. Since I was very little, I remember drawing on every surface, and I’ve always had an instinct to think in 3D, wanting to make assemblages with paper and toys.\u003Cbr \u002F>\nMy grandfather was a sculptor, and I remember being very fascinated watching him work. I loved observing the process and the transformation of raw material into form. I guess that curiosity grew with me, and here I am 30 years later.\u003C\u002Fp>\n",{"images":16033,"size":56,"_type":57},[16034],{"_id":16035,"url":16036,"alt":18,"caption":18,"credit":18,"width":16004,"height":1305},2377,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-41.jpg",{"questions":16038,"_type":45},[16039],{"question":16040,"answer":16041},"\u003Cp>How did growing up in Sicily influence the way you approach your work?\u003C\u002Fp>\n","\u003Cp>Growing up in rural Sicily shaped me profoundly. I was raised in my grandparents’ home, immersed in a traditional family structure grounded in strong values and rituals. That upbringing is something I carry with pride. At the same time, moving to a multicultural city like London made me question and re-examine many of those inherited structures.\u003Cbr \u002F>\nSicily taught me about devotion, family, masculinity, and belonging. As a gay man raised within a Catholic and patriarchal environment, I became deeply aware of how tradition can be both comforting and restrictive. My work often exists in that tension between attachment and resistance.\u003C\u002Fp>\n",{"images":16043,"size":56,"_type":57},[16044],{"_id":14803,"url":16045,"alt":18,"caption":18,"credit":16046,"width":16004,"height":1305},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-40.jpg","Photography: @BJDeakinPhotography",{"questions":16048,"_type":45},[16049],{"question":16050,"answer":16051},"\u003Cp>You engage with themes of grotesque theatre and camp. What do these subjects allow you to express?\u003C\u002Fp>\n","\u003Cp>I play with symbols and stereotypes, questioning how they shape identity and everyday life.\u003Cbr \u002F>\nSicily itself is deeply theatrical, especially when it comes to religious devotion. The relationship with saints goes beyond faith; it becomes a performative and emotional act embedded in daily life. That intensity fascinates me.\u003Cbr \u002F>\nGrotesque and camp allow me to mirror that exaggeration. They create space to explore ambiguity, particularly around masculinity, sexuality, and cultural norms. Just as devotion can be excessive and ecstatic, so can repression. I’m interested in that paradox.\u003C\u002Fp>\n",{"variant":176,"images":16053,"_type":73},[16054,16058],{"_id":16055,"url":16056,"alt":18,"caption":18,"credit":16057,"width":5812,"height":1305},2379,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-40.jpg","Photography: @fertilefertilefertile and @palazzomonti",{"_id":16059,"url":16060,"alt":18,"caption":18,"credit":16057,"width":3185,"height":5686},2380,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-41.jpg",{"questions":16062,"_type":45},[16063],{"question":16064,"answer":16065},"\u003Cp>Material seems central to your practice, particularly your use of wood and steel. What do materials help you represent?\u003C\u002Fp>\n","\u003Cp>Material is everything to me. Wood and steel are traditional Sicilian craft materials and also the same ones my grandfather used. Working with them is both a physical and emotional connection to my past.\u003Cbr \u002F>\nWhat I value most is labour, which I consider not just technique but truly a form of understanding. Through repetition, carving, and welding, I enter a dialogue with the material that becomes almost meditative.\u003Cbr \u002F>\nI often spend time in old-style workshops in Sicily, sometimes for weeks, just observing and learning. These processes carry generations of knowledge. If they disappear, we lose more than technique; we lose memory and identity. Preserving and reinterpreting them is, for me, a way of keeping culture alive. (please credit @gray_carmen)\u003C\u002Fp>\n",{"images":16067,"size":56,"_type":57},[16068],{"_id":16069,"url":16070,"alt":18,"caption":18,"credit":16010,"width":16071,"height":5686},2381,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-40.jpg",731,{"questions":16073,"_type":45},[16074],{"question":16075,"answer":16076},"\u003Cp>Is there a specific piece or exhibition that felt like a turning point in your practice?\u003C\u002Fp>\n","\u003Cp>Fontanarossa, presented during my degree show at Goldsmiths, University of London, has definitely been a turning point.\u003Cbr \u002F>\nThat body of work came together very organically. I felt completely aligned with it, emotionally and conceptually. It was the first time I presented a solo body of work to a large audience, and I felt fully seen through it.\u003Cbr \u002F>\nThe exhibition opened many professional doors, but more importantly, it marked a moment when I felt entirely honest in my practice.\u003C\u002Fp>\n",{"images":16078,"size":84,"_type":57},[16079],{"_id":16080,"url":16081,"alt":18,"caption":18,"credit":16046,"width":6169,"height":1787},2382,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-40.jpg",{"questions":16083,"_type":45},[16084],{"question":16085,"answer":16086},"\u003Cp>You’ve described Ercolina as an invitation for viewers to examine the cages they build around themselves and the possibility of flowers blooming beyond them. What kinds of cages do you refer to?\u003C\u002Fp>\n","\u003Cp>I’m referring to emotional and ideological cages or all the internal structures that limit us.\u003Cbr \u002F>\nWe all experience forms of confinement, whether imposed by society, culture, family, or ourselves. Ercolina invites viewers to observe those limitations and question them.\u003Cbr \u002F>\nThe idea is not simply escape, but awareness. It is the possibility of shifting perspective and allowing something softer and freer to grow beyond those metaphorical cages.\u003C\u002Fp>\n",{"images":16088,"size":84,"_type":57},[16089],{"_id":16090,"url":16091,"alt":18,"caption":18,"credit":18,"width":6169,"height":1516},2383,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-38.jpg",{"questions":16093,"_type":45},[16094],{"question":16095,"answer":16096},"\u003Cp>Outside of your studio practice, what keeps you creative?\u003C\u002Fp>\n","\u003Cp>For me, creativity is about perception.\u003Cbr \u002F>\nI spend a lot of time alone observing. I’m naturally curious. For example, I love visiting markets like Deptford Market in London, near where I live. I go several times a week. I do the same when I’m in Sicily or traveling. I believe that markets reveal the true culture of a place.\u003Cbr \u002F>\nI also value physical discipline. I train at the gym most days of the week. It grounds me and reconnects me with my body. For me, creativity flows when mind and body are aligned.\u003C\u002Fp>\n",{"images":16098,"size":56,"_type":57},[16099],{"_id":16100,"url":16101,"alt":18,"caption":18,"credit":18,"width":2094,"height":4970},2384,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-35.jpg",{"questions":16103,"_type":45},[16104],{"question":16105,"answer":16106},"\u003Cp>What themes would you like to explore next?\u003C\u002Fp>\n","\u003Cp>My process is very instinctive. I don’t usually begin with a fixed theme; instead, I let daily life guide me.\u003Cbr \u002F>\nReturning to my hometown is always part of my research. It reconnects me to the land and reactivates something internal.\u003C\u002Fp>\n",{"images":16108,"size":56,"_type":57},[16109],{"_id":16110,"url":16111,"alt":18,"caption":18,"credit":16010,"width":2094,"height":4970},2385,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-30.jpg",{"questions":16113,"_type":45},[16114],{"question":638,"answer":16115},"\u003Cp>You can easily reach out on Instagram @salvopione or drop me an email for a studio visit if you’re in London. To see more of my work, my website is www.salvatorepione.com.\u003C\u002Fp>\n",{"_type":6,"_id":16117,"slug":16118,"name":16119,"index":10878,"date":16120,"thumbnails":16121,"description":18,"footerImage":16128,"categories":16131,"sections":16133},2388,"alberto-lamback","Alberto Lamback","2026-03-18",{"quote":16122,"main":16123,"secondary":16127,"reverse":24},"\u003Cp>“After years of chasing precision, I found myself going backwards, painting things that fade away more and more”\u003C\u002Fp>\n",{"image":16124,"background":21,"fit":139},{"_id":16125,"url":16126,"alt":18,"caption":18,"credit":18,"width":1830,"height":1265},2607,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FAlberto.jpg",{"image":24,"background":21,"fit":22},{"_id":16129,"url":16130,"alt":18,"caption":18,"credit":18,"width":563,"height":4970},2390,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-43.jpg",[16132],{"_id":127,"slug":146,"name":147},[16134,16138,16142,16148,16153,16158,16163,16167,16172,16181,16186,16190,16195,16200,16205,16213,16218,16222,16227,16235],{"questions":16135,"_type":45},[16136],{"question":522,"answer":16137},"\u003Cp>Hello, my name is Alberto Lamback. I’m an artist from Brazil, based in São Paulo.\u003C\u002Fp>\n",{"questions":16139,"_type":45},[16140],{"question":3060,"answer":16141},"\u003Cp>I make small paintings on wooden blocks that I prepare myself, building up layers of modeling paste until the surface feels right. My subject matter comes from things I encounter in the everyday, whether observed in real life or pulled from a screenshot. It’s all source material.\u003C\u002Fp>\n",{"images":16143,"size":84,"_type":57},[16144],{"_id":16145,"url":16146,"alt":18,"caption":18,"credit":18,"width":16147,"height":563},2391,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-39.jpg",928,{"questions":16149,"_type":45},[16150],{"question":16151,"answer":16152},"\u003Cp>What early inspirations led you toward painting?\u003C\u002Fp>\n","\u003Cp>My mother often took my sister and I to museums when we were little. Most of it went over my head, but I still remember a Magritte exhibition I saw around age seven. I was completely blown away, not just by the technique, but by the freedom he took to simply swap things out of their natural order. I left that exhibition wanting to paint. After that, I never hesitated to visit museums, as long as there were paintings involved.\u003C\u002Fp>\n",{"images":16154,"size":84,"_type":57},[16155],{"_id":16156,"url":16157,"alt":18,"caption":18,"credit":18,"width":1775,"height":563},2392,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-42.jpg",{"questions":16159,"_type":45},[16160],{"question":16161,"answer":16162},"\u003Cp>Your process begins with constructing the canvas itself. Can you describe this?\u003C\u002Fp>\n","\u003Cp>I source planks of dense native wood from a merchant and cut them to size with a hand saw. After sealing the wood, I apply layer upon layer of modeling paste, waiting for each to dry, sanding in between. After four or five layers, I prime the surface with gesso. The whole process takes about two to three weeks.\u003C\u002Fp>\n",{"images":16164,"size":84,"_type":57},[16165],{"_id":14263,"url":16166,"alt":18,"caption":18,"credit":18,"width":1951,"height":4864},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-41.jpg",{"questions":16168,"_type":45},[16169],{"question":16170,"answer":16171},"\u003Cp>Why is it important for you to build the canvas before painting?\u003C\u002Fp>\n","\u003Cp>I’ve always liked being involved from start to finish. For me, preparing the surface isn’t just a technical step, it’s where the artwork truly begins. While I’m building up layers, smoothing and sanding, I’m also thinking about what I’ll paint. It’s a quiet, meditative time. A ritual, almost.\u003C\u002Fp>\n",{"variant":1179,"images":16173,"_type":73},[16174,16178],{"_id":16175,"url":16176,"alt":18,"caption":18,"credit":18,"width":1951,"height":16177},2394,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-41.jpg",582,{"_id":16179,"url":16180,"alt":18,"caption":18,"credit":18,"width":1951,"height":16177},2395,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-42.jpg",{"questions":16182,"_type":45},[16183],{"question":16184,"answer":16185},"\u003Cp>Your paintings feel like small, captured moments in time. What kind of moments are you drawn to preserving?\u003C\u002Fp>\n","\u003Cp>The moments I’m drawn to are the ones that might otherwise be overlooked: the way a shadow falls across an object, a reflection in a window, how a flower’s colours soften as itages. I find them on my walk to work, in the company of friends, in the studio. I’m not looking for grand events, just the subtle details right in front of us.\u003C\u002Fp>\n",{"images":16187,"size":84,"_type":57},[16188],{"_id":12633,"url":16189,"alt":18,"caption":18,"credit":18,"width":7203,"height":3041},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-41.jpg",{"questions":16191,"_type":45},[16192],{"question":16193,"answer":16194},"\u003Cp>There’s a blurriness to your paintings reminiscent of memory. What draws you to this?\u003C\u002Fp>\n","\u003Cp>Part of it is practical—I’m short-sighted, so in a way I’m just painting what I see without my glasses. But that blur also feels true to how memory works. We don’t remember in sharp focus; we remember impressions, feelings, fragments. I come from a photorealist background, where every detail mattered. After years of chasing precision, I found myself going backwards, painting things that fade away more and more. It’s freeing. It lets me release the details that can feel controlling. Like memory, the blur edits, softens, lets go of what isn’t essential. There’s also something about how, like words, the more you stare at them, the more their meaning dissolves. The blur does that—it pulls you away from the surface and lets you internalize the image, the way you internalize a memory until it becomes more yours than what actually happened.\u003C\u002Fp>\n",{"images":16196,"size":84,"_type":57},[16197],{"_id":16198,"url":16199,"alt":18,"caption":18,"credit":18,"width":4313,"height":533},2397,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-41.jpg",{"questions":16201,"_type":45},[16202],{"question":16203,"answer":16204},"\u003Cp>You describe your work as holding onto instants that are “transient, yet permanently resonant.” What does that paradox uncover?\u003C\u002Fp>\n","\u003Cp>It’s about recognizing that the smallest things often carry the biggest weight. I believe we’re shaped by a collection of small moments: brief glances, subtle gestures, shifts in light. Alone they seem insignificant, but that accumulation becomes who we are. The surface I paint on plays into this. My images feel light, almost fleeting, but the support itself is heavy—intentionally so. There’s something grounding about painting on a surface with physical weight. It anchors these ephemeral moments, gives them a place to land.\u003C\u002Fp>\n",{"variant":1179,"images":16206,"_type":73},[16207,16210],{"_id":16208,"url":16209,"alt":18,"caption":18,"credit":18,"width":4548,"height":533},2398,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-39.jpg",{"_id":16211,"url":16212,"alt":18,"caption":18,"credit":18,"width":4548,"height":533},2399,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-36.jpg",{"questions":16214,"_type":45},[16215],{"question":16216,"answer":16217},"\u003Cp>Looking at your body of work, do you notice certain forms or motifs that consistently reappear?\u003C\u002Fp>\n","\u003Cp>I do. It started with flowers. I’ve always been captivated by their intricate details, the way they can feel almost architectural in their complexity. Lately that focus has shifted to hands. I find myself observing how light moves across them, how a subtle shift in position can completely change the narrative.\u003C\u002Fp>\n\u003Cp>At its core, I think what I’m really chasing is light in all its forms: the soft glow of a candle, the shadows it casts, the quiet light of the sky and moon. These elements are tools for setting a certain mood, a way of capturing a feeling that’s often just beyond words.\u003C\u002Fp>\n",{"images":16219,"size":56,"_type":57},[16220],{"_id":4778,"url":16221,"alt":18,"caption":18,"credit":18,"width":2310,"height":3065},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-31.jpg",{"questions":16223,"_type":45},[16224],{"question":16225,"answer":16226},"\u003Cp>Outside of painting, what keeps you inspired?\u003C\u002Fp>\n","\u003Cp>My daily walks have become essential. I live close to the studio, so I walk to and from work each day. Along the way, I see life happening—people commuting, light shifting through trees, small moments unfolding. Walking slows me down, helps me pay attention. That rhythm has influenced my work more than I realized. I’ve also been finding inspiration in books and films. Like walking, they ask you to sit with something, to give it time. In a way, both became a response to the noise of social media, a reminder that not everything needs to be instant.\u003C\u002Fp>\n",{"variant":1116,"images":16228,"_type":73},[16229,16232],{"_id":16230,"url":16231,"alt":18,"caption":18,"credit":18,"width":751,"height":3065},2401,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-21.jpg",{"_id":16233,"url":16234,"alt":18,"caption":18,"credit":18,"width":751,"height":3065},2402,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-16.jpg",{"questions":16236,"_type":45},[16237],{"question":638,"answer":16238},"\u003Cp>My studio is in central São Paulo, always open for visits. I’m on Instagram under my name, where I’ll be posting updates on a few group shows I have lined up this year.\u003C\u002Fp>\n",{"_type":6,"_id":16240,"slug":16241,"name":16242,"index":10874,"date":16243,"thumbnails":16244,"description":18,"footerImage":16252,"categories":16255,"sections":16257},2405,"omar-darwish","Omar Darwish","2026-03-30",{"quote":16245,"main":16246,"secondary":16251,"reverse":24},"\u003Cp>“Many overlooked structures contain forms of intelligence that formal architecture still struggles to achieve consistently…”\u003C\u002Fp>\n",{"image":16247,"background":21,"fit":56},{"_id":16248,"url":16249,"alt":18,"caption":18,"credit":18,"width":15505,"height":16250},2886,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002FOMAR.jpg",424,{"image":24,"background":21,"fit":22},{"_id":16253,"url":16254,"alt":18,"caption":18,"credit":18,"width":15211,"height":5999},2406,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-44.jpg",[16256],{"_id":644,"slug":1883,"name":1884},[16258,16262,16266,16273,16278,16284,16289,16295,16300,16305,16310,16315,16320,16324,16329,16334],{"questions":16259,"_type":45},[16260],{"question":1171,"answer":16261},"\u003Cp>Hala, I’m Omar Darwish. I was born and raised in Abu Dhabi and I’m currently based between Abu Dhabi and Sharjah in the United Arab Emirates.\u003C\u002Fp>\n",{"questions":16263,"_type":45},[16264],{"question":3060,"answer":16265},"\u003Cp>My practice is a way of reading the Arab world through its built environment.\u003Cbr \u002F>\nI use design research to examine how spatial ideas, construction logics, and material habits move across the region and settle into buildings, landscapes, and everyday life. Often, this means looking at things that are not usually granted importance within architectural discourse—temporary structures, infrastructural edges, construction residues, vernacular devices, and overlooked urban situations.\u003Cbr \u002F>\nDepending on what the research demands, I work through architecture, curation, writing, or installation. I do not see these as separate disciplines, but as different tools for making an observation public.\u003C\u002Fp>\n",{"images":16267,"size":84,"_type":57},[16268],{"_id":16269,"url":16270,"alt":18,"caption":18,"credit":16271,"width":1503,"height":16272},2408,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-40.jpg","'Why Do Materials Die Young?' commissioned by Abu Dhabi Art",465,{"questions":16274,"_type":45},[16275],{"question":16276,"answer":16277},"\u003Cp>What initially led you toward design?\u003C\u002Fp>\n","\u003Cp>What first led me toward design was not a building, but a comparison.\u003Cbr \u002F>\nGrowing up between Abu Dhabi and Amman, I became aware very early on that cities are not neutral. One city was coastal, horizontal, and expansive; the other was mountainous, dense, and topographically uneven. As a child, I would ask very simple questions: why is the street like this here and not there? Why does one sidewalk follow one logic and another a completely different one? Why do certain materials, road patterns, and spatial habits appear in one place and not another?\u003Cbr \u002F>\nAt the same time, both cities were undergoing construction and expansion. I grew up seeing neighborhoods being made in real time. My grandfather was involved in construction and development in Abu Dhabi, so I came to understand that the city was not something natural or fixed, but something decided, assembled, and negotiated. That realization stayed with me and led me to choose architecture as a field of study.\u003C\u002Fp>\n",{"images":16279,"size":84,"_type":57},[16280],{"_id":16281,"url":16282,"alt":18,"caption":18,"credit":18,"width":1830,"height":16283},2409,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-43.jpg",581,{"questions":16285,"_type":45},[16286],{"question":16287,"answer":16288},"\u003Cp>You often refer to yourself as “the pan Arab.” What does this term mean to you?\u003C\u002Fp>\n","\u003Cp>When I call myself “the pan-Arab,” I am not using the term politically. I use it to describe a condition of upbringing.\u003Cbr \u002F>\nMy family extends across different parts of the Arab world, so I grew up in a household where dialects, references, habits, and stories were constantly crossing one another. The Arabic I heard at home did not belong neatly to one national context. It was mixed, mobile, and relational.\u003Cbr \u002F>\nThat condition shaped the way I think. It made it difficult for me to look at architecture through fixed national frames. I am more interested in how ideas travel across the region—how building knowledge, environmental responses, and spatial practices circulate, settle, and take different forms in different places while still belonging to a shared cultural field.\u003C\u002Fp>\n",{"images":16290,"size":84,"_type":57},[16291],{"_id":16292,"url":16293,"alt":18,"caption":18,"credit":16294,"width":3476,"height":1675},2410,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-42.jpg","Fatma Al Ali 'Where Do The Borders Begin?' From The United Lines of The Emirates at The Jameel Center, Dubai",{"questions":16296,"_type":45},[16297],{"question":16298,"answer":16299},"\u003Cp>Your platform Some Kind of Practice works through design research. What first led you to approach built systems as a research area?\u003C\u002Fp>\n","\u003Cp>My architectural education initially trained me to look at buildings as resolved objects. But the more I paid attention to the region around me, the more I felt that the most important architectural intelligence was often elsewhere.\u003Cbr \u002F>\nIt was in the scaffold, the shade device, the leftover block, the water tank, the informal extension, the temporary enclosure, the roadside structure, the construction residue. These were not marginal to architecture; they were often the clearest evidence of how people actually build, adapt, and negotiate environmental and material conditions.\u003C\u002Fp>\n",{"images":16301,"size":84,"_type":57},[16302],{"_id":16303,"url":16304,"alt":18,"caption":18,"credit":18,"width":9213,"height":1675},2411,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-42.jpg",{"questions":16306,"_type":45},[16307],{"question":16308,"answer":16309},"\u003Cp>Are there specific questions or ideas you find yourself repeatedly returning to through your work?\u003C\u002Fp>\n","\u003Cp>Yes. I keep returning to the question of how building knowledge moves across the Arab world.\u003Cbr \u002F>\nI am interested in the fact that many of the region’s spatial habits are shared, even if they appear under different names or in different forms. A threshold condition in one geography may reappear as a courtyard logic elsewhere. A shading device, a material practice, or a way of organizing domestic or public space may travel quietly across borders through labor, trade, climate, memory, and imitation.\u003C\u002Fp>\n",{"images":16311,"size":56,"_type":57},[16312],{"_id":16313,"url":16314,"alt":18,"caption":18,"credit":18,"width":4032,"height":1675},2412,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-43.jpg",{"questions":16316,"_type":45},[16317],{"question":16318,"answer":16319},"\u003Cp>In your view, what have your studies of overlooked structures revealed about the future of built systems in the Arab world?\u003C\u002Fp>\n","\u003Cp>They have shown me that the future will not come only from what is newly invented, but also from what has already been practiced without being properly valued.\u003Cbr \u002F>\nMany overlooked structures contain forms of intelligence that formal architecture still struggles to achieve consistently—economy of means, climatic responsiveness, adaptability, and a close relationship between use and assembly. They are often direct in the way they solve problems. They do not rely on excess.\u003Cbr \u002F>\nWhat interests me is that these structures are rarely treated as knowledge. They are seen as background, memory, or as temporary, or as incomplete. But in many cases they reveal more about the future of building in the region than monumental architecture does, because they are already negotiating heat, scarcity, speed, and everyday life with precision.\u003C\u002Fp>\n",{"images":16321,"size":56,"_type":57},[16322],{"_id":4085,"url":16323,"alt":18,"caption":18,"credit":18,"width":4032,"height":1675},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-42.jpg",{"questions":16325,"_type":45},[16326],{"question":16327,"answer":16328},"\u003Cp>Outside of your practice, what fuels your creativity?\u003C\u002Fp>\n","\u003Cp>Observation, more than anything.\u003Cbr \u002F>\nTraveling across the region, driving through industrial zones, desert roads, peripheral towns, agricultural landscapes, coastlines, and expanding urban edges often gives me more than sitting at a desk does. I am interested in the things people stop noticing once they become familiar—the arrangement of roadside objects, water infrastructures, informal shade, signage, boundary walls, leftover materials, the ways landscapes are occupied.\u003Cbr \u002F>\nArchives also matter deeply to me, not as sealed repositories of the past, but as places where forgotten relations can be recovered. A photograph, a municipal document, an anecdote, or a conversation with someone remembering a place can completely shift how one understands the present.\u003C\u002Fp>\n",{"images":16330,"size":56,"_type":57},[16331],{"_id":16332,"url":16333,"alt":18,"caption":18,"credit":18,"width":4032,"height":1675},2414,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-42.jpg",{"questions":16335,"_type":45},[16336],{"question":638,"answer":16337},"\u003Cp>People can follow my work on Instagram at @the_pan_arab, where I share ongoing research, field observations, projects, and exhibitions.\u003C\u002Fp>\n",{"_type":6,"_id":16339,"slug":16340,"name":16341,"index":10882,"date":16342,"thumbnails":16343,"description":18,"footerImage":16350,"categories":16353,"sections":16355},2416,"wootek-lim","Wootek Lim","2026-04-06",{"quote":16344,"main":16345,"secondary":16349,"reverse":24},"\u003Cp>“If an object can serve a new purpose while retaining its original form, the memories embedded in it may remain—if only as a faint silhouette…”\u003C\u002Fp>\n",{"image":16346,"background":21,"fit":22},{"_id":16347,"url":16348,"alt":18,"caption":18,"credit":18,"width":4032,"height":1675},2417,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-43.jpg",{"image":24,"background":21,"fit":22},{"_id":16351,"url":16352,"alt":18,"caption":18,"credit":18,"width":4032,"height":1675},2418,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-45.jpg",[16354],{"_id":33,"slug":34,"name":35},[16356,16360,16364,16372,16377,16385,16390,16394,16399,16407,16412,16416,16421,16429,16434,16444,16448,16453],{"questions":16357,"_type":45},[16358],{"question":1766,"answer":16359},"\u003Cp>My name is Wootek Lim. I was born in Seoul, South Korea, and have lived here my entire life.\u003C\u002Fp>\n",{"questions":16361,"_type":45},[16362],{"question":3060,"answer":16363},"\u003Cp>I believe that ideas are the most vital element of any work. My practice spans design, craft, and art, and I approach ideas differently in each discipline. In design, rationality and universality are essential. In art, however, I believe more radical or even destructive ideas are sometimes necessary. When working on design projects, I maintain a balanced rhythm from the initial concept to mass production. For art-focused work, I tend to immerse myself deeply in one or two core conceptual pillars.\u003C\u002Fp>\n",{"variant":1179,"images":16365,"_type":73},[16366,16369],{"_id":16367,"url":16368,"alt":18,"caption":18,"credit":18,"width":4032,"height":733},2419,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-41.jpg",{"_id":16370,"url":16371,"alt":18,"caption":18,"credit":18,"width":4032,"height":733},2420,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-44.jpg",{"questions":16373,"_type":45},[16374],{"question":16375,"answer":16376},"\u003Cp>In retrospect, what aspects of the industrial mindset from your eight years at Samsung have stayed with you?\u003C\u002Fp>\n","\u003Cp>Having worked in diverse environments—from global corporations to private studios—I found that a company like Samsung plays an important role in developing a “universal sense.” The goal there is to design for a global audience by creating products that almost no one would dislike. Paradoxically, this experience strengthened my desire to pursue my own distinct design language, which eventually led me to work independently. Observing the endless cycle of seasonal electronic products—many of which look nearly identical—also sparked complex feelings about industrially produced objects. These thoughts later became the foundation of Egosystem.\u003C\u002Fp>\n",{"variant":1116,"images":16378,"_type":73},[16379,16382],{"_id":16380,"url":16381,"alt":18,"caption":18,"credit":18,"width":4032,"height":733},2421,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-43.jpg",{"_id":16383,"url":16384,"alt":18,"caption":18,"credit":18,"width":4032,"height":733},2422,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F6-43.jpg",{"questions":16386,"_type":45},[16387],{"question":16388,"answer":16389},"\u003Cp>When you launched ADAO in 2018, what were you hoping to create through the studio?\u003C\u002Fp>\n","\u003Cp>While my experience at a large corporation was invaluable, I chose to become independent to broaden my scope as an industrial designer. At ADAO, I work on a wide range of projects, from electronics and medical devices to furniture and vases. Collaborating with clients of different scales—from tech companies to small startups—has helped me grow significantly as a designer.\u003C\u002Fp>\n",{"images":16391,"size":84,"_type":57},[16392],{"_id":12270,"url":16393,"alt":18,"caption":18,"credit":18,"width":6460,"height":4289},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-44.jpg",{"questions":16395,"_type":45},[16396],{"question":16397,"answer":16398},"\u003Cp>You went on to establish Egosystem as a second studio, how does this differ from ADAO and what do you hope to explore through it?\u003C\u002Fp>\n","\u003Cp>Egosystem began with a project titled Birth, which was presented through ADAO. During the pandemic, I was struck by the overwhelming increase in plastic delivery containers. To express this, I used the containers as molds to create resin objects, which received a positive response. While many upcycling projects focus on processing waste into new raw materials, I often felt the results became mere “souvenirs.” I wanted to take a more message-driven approach rather than a purely material-based one, which led to the creation of Egosystem.\u003C\u002Fp>\n",{"variant":1179,"images":16400,"_type":73},[16401,16404],{"_id":16402,"url":16403,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2424,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-43.jpg",{"_id":16405,"url":16406,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2425,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-43.jpg",{"questions":16408,"_type":45},[16409],{"question":16410,"answer":16411},"\u003Cp>Can you share a bit more about how the Dip series connects to your idea of casting memory?\u003C\u002Fp>\n","\u003Cp>Objects naturally become vessels for human memory. We share countless moments with the things we use daily, yet once they are discarded, we never see them again. Conventional recycling usually dismantles and destroys objects to reclaim materials, erasing the memories attached to them. While such processes are necessary, I wanted to approach reuse differently as an artist. If an object can serve a new purpose while retaining its original form, the memories embedded in it may remain—if only as a faint silhouette.\u003C\u002Fp>\n",{"images":16413,"size":84,"_type":57},[16414],{"_id":3909,"url":16415,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-40.jpg",{"questions":16417,"_type":45},[16418],{"question":16419,"answer":16420},"\u003Cp>The resin blurs and distorts the object within, how intentional was that loss of clarity?\u003C\u002Fp>\n","\u003Cp>One reason I work with resin is the ability to control transparency. Human memory consists of both vivid and blurred moments. For example, the computer screen we look at every day may remain sharp in our memory, while the underside of the desk or nearby objects feel more distorted. Resin allows me to express these gradients. By adjusting pigment concentration and the level of sanding and polishing, I can create a wide range of clarity and distortion.\u003C\u002Fp>\n",{"variant":1116,"images":16422,"_type":73},[16423,16426],{"_id":16424,"url":16425,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2427,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-37.jpg",{"_id":16427,"url":16428,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2428,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-32.jpg",{"questions":16430,"_type":45},[16431],{"question":16432,"answer":16433},"\u003Cp>You once designed devices for use at Samsung and ADAO, what led you to start using similar objects as material instead?\u003C\u002Fp>\n","\u003Cp>As I mentioned earlier, watching nearly identical products being replaced again and again created a sense of regret. These products are not just materials—they are objects filled with memory. People often discard perfectly functional items simply because their feelings change. This observation became the starting point of Egosystem. Beginning with delivery containers (Birth), plastic film (Iceberg, Icelake), and corrugated cardboard (Strata), the work eventually evolved into using discarded products themselves (Dip).\u003C\u002Fp>\n",{"first":16435,"second":16438,"third":16441,"variant":94,"_type":206},{"_id":16436,"url":16437,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2429,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-22.jpg",{"_id":16439,"url":16440,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2430,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F15-11.jpg",{"_id":16442,"url":16443,"alt":18,"caption":18,"credit":18,"width":3644,"height":4289},2431,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16-5.jpg",{"images":16445,"size":84,"_type":57},[16446],{"_id":1895,"url":16447,"alt":18,"caption":18,"credit":18,"width":6589,"height":3714},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F17-2.jpg",{"questions":16449,"_type":45},[16450],{"question":16451,"answer":16452},"\u003Cp>Finally, what do you hope people think or feel when they encounter your work?\u003C\u002Fp>\n","\u003Cp>I hope viewers feel both a sense of familiarity and strangeness.\u003C\u002Fp>\n",{"questions":16454,"_type":45},[16455],{"question":638,"answer":16456},"\u003Cp>One of my upcoming projects involves the iPhone. I am also currently discussing collaborations and exhibitions related to Egosystem with various corporations and private collectors.\u003Cbr \u002F>\nInstagram: @studio_egosystem\u003Cbr \u002F>\nWebsite: limwootek.kr\u003C\u002Fp>\n",{"_type":6,"_id":16458,"slug":16459,"name":16460,"index":10885,"date":16461,"thumbnails":16462,"description":18,"footerImage":16469,"categories":16472,"sections":16474},2434,"yeeun-jang","Yeeun Jang","2026-04-11",{"quote":16463,"main":16464,"secondary":16468,"reverse":24},"\u003Cp>“I have never formally learned flowers from anyone. YouTube is my teacher…”\u003C\u002Fp>\n",{"image":16465,"background":21,"fit":139},{"_id":16466,"url":16467,"alt":18,"caption":18,"credit":18,"width":9490,"height":653},2725,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F131-head.jpg",{"image":24,"background":21,"fit":22},{"_id":16470,"url":16471,"alt":18,"caption":18,"credit":18,"width":92,"height":3714},2436,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F2-44.jpg",[16473],{"_id":33,"slug":34,"name":35},[16475,16479,16483,16488,16493,16501,16506,16511,16516,16521,16526,16535,16540,16545,16550,16555,16559,16567,16572,16580,16585],{"questions":16476,"_type":45},[16477],{"question":1766,"answer":16478},"\u003Cp>Yeeun Jang. Born in Seoul and based in Seoul. I travel anywhere in the  world where my work is needed.\u003C\u002Fp>\n",{"questions":16480,"_type":45},[16481],{"question":3060,"answer":16482},"\u003Cp>Floral Visual Work with Structural Forms\u003C\u002Fp>\n",{"images":16484,"size":56,"_type":57},[16485],{"_id":16486,"url":16487,"alt":18,"caption":18,"credit":18,"width":92,"height":3714},2437,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F3-42.jpg",{"questions":16489,"_type":45},[16490],{"question":16491,"answer":16492},"\u003Cp>How did you begin creating?\u003C\u002Fp>\n","\u003Cp>I grew up under a graphic designer father. Therefore, from a young age, I  naturally grew up encountering many things related to visual arts, and  because of this, my interest in the field of art grew. I experienced various  fields such as VMD, graphic design, and illustration, but unlike my father, I  realized eight years ago that I feel a sense of accomplishment in creating  three-dimensional things directly by hand.\u003C\u002Fp>\n",{"variant":1116,"images":16494,"_type":73},[16495,16498],{"_id":16496,"url":16497,"alt":18,"caption":18,"credit":18,"width":92,"height":3714},2438,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F4-45.jpg",{"_id":16499,"url":16500,"alt":18,"caption":18,"credit":18,"width":92,"height":3714},2439,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F5-44.jpg",{"questions":16502,"_type":45},[16503],{"question":16504,"answer":16505},"\u003Cp>When did flowers enter your practice?\u003C\u002Fp>\n","\u003Cp>About eight years ago, I discovered a reference for a large-scale  installation made of flowers. I realized that being a florist was not simply a  job of making bouquets, and I immediately ran to the flower market, bought  several bundles of flowers, and started working on my own. I have never  formally learned flowers from anyone. YouTube is my teacher.\u003C\u002Fp>\n",{"images":16507,"size":56,"_type":57},[16508],{"_id":16509,"url":16510,"alt":18,"caption":18,"credit":18,"width":92,"height":3714},2435,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F1-46.jpg",{"questions":16512,"_type":45},[16513],{"question":16514,"answer":16515},"\u003Cp>Your sculptures are incredibly unique and sculpturesque, what inspired you to work in this way?\u003C\u002Fp>\n","\u003Cp>My father always taught me to “think differently from others.” When I was  young, I heard this so much that I was sick of it, but thinking about it now, I  realized that my father’s words are a very important core. There are many  great florists who simply arrange flowers abundantly. I thought there was  no competitiveness in doing the same works as them, and I thought it was not a way to express myself. I spent a very long time alone researching  how I could brand myself with flowers. I love architecture, installation art,  and avant-garde fashion. I love the physical power that architecture has  and the craftsmanship that installation art has, and I love the experimental  spirit that avant-garde fashion has. And I want my sculptures made of  flowers to be art pieces on the same level as them. I want my sculptures to  be seen as a piece of art placed in a gallery someday. In the future, I want  to make works with much larger and more complex structures and rules  than now.\u003C\u002Fp>\n",{"images":16517,"size":56,"_type":57},[16518],{"_id":16519,"url":16520,"alt":18,"caption":18,"credit":18,"width":92,"height":526},2441,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F7-45.jpg",{"questions":16522,"_type":45},[16523],{"question":16524,"answer":16525},"\u003Cp>How do you see the temporary nature of flowers?\u003C\u002Fp>\n","\u003Cp>I use both fresh and artificial flowers. They each possess opposing  strengths and weaknesses, which I find immensely intriguing. People often  simply categorize fresh flowers as “real flowers, high quality” and artificial  flowers as “fake flowers, low quality.” However, I do not classify them into  positive and negative elements. This is because I can create interesting  works by utilizing the unique characteristics of each.\u003Cbr \u002F>\nFresh flowers are temporary in nature, yet they possess details that  artificial ones simply cannot mimic. They are inherently beautiful in any  form. However, when working with fresh flowers, the task must be  completed within a few hours or a single day. This is because as moisture  escapes, the volume decreases to half of what was initially planned. One  must be extremely fast.\u003Cbr \u002F>\nArtificial flowers offer durability and longevity; they can be maintained for  days or even years. They also possess a rigid structure that fresh flowers  simply do not have. In fact, the complex structures I desire can be better\u003Cbr \u002F>\nrealized through artificial flowers. There are also many interestingly shaped  artificial varieties available. This is why I use artificial flowers more  frequently.\u003C\u002Fp>\n",{"variant":1116,"images":16527,"_type":73},[16528,16532],{"_id":16529,"url":16530,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2442,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F8-44.jpg",455,{"_id":16533,"url":16534,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2443,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F9-44.jpg",{"questions":16536,"_type":45},[16537],{"question":16538,"answer":16539},"\u003Cp>What role does risk play when working with fragile or unpredictable materials?\u003C\u002Fp>\n","\u003Cp>In my work, the most important thing is not “what kind of flowers to use,”  but “how to build the structure, that is, the framework.” This accounts for  90% of the work, and the flowers are merely the surface. If the framework  is not completed solidly, the shape cannot be properly maintained. It is true  that flowers, especially fresh ones, are fragile or unpredictable materials.  To complete a complex structure while taking this risk into account, a solid  framework is absolutely necessary. I have researched by building as many  frameworks as possible, directly cutting, breaking, bending, and  dismantling both fresh and artificial flowers. Since flowers are already  beautiful even without being decorated, there is nothing more for me to  touch. The details are not finished by the flowers, but by the manual labor  of creating the framework and fixing it.\u003C\u002Fp>\n",{"images":16541,"size":84,"_type":57},[16542],{"_id":16543,"url":16544,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2444,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F10-41.jpg",{"questions":16546,"_type":45},[16547],{"question":16548,"answer":16549},"\u003Cp>What do you hope to express?\u003C\u002Fp>\n","\u003Cp>I want to express that simply using abundant volume, pretty color  combinations, and unique flowers is not the only correct answer to  expressing the beauty of flowers. I look forward to the day when the  complex and structural forms I have practiced countless times will truly  shine. I hope that my method will be established as a distinct field within  the floral industry.\u003C\u002Fp>\n",{"images":16551,"size":56,"_type":57},[16552],{"_id":16553,"url":16554,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2445,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F11-38.jpg",{"questions":16556,"_type":45},[16557],{"question":16327,"answer":16558},"\u003Cp>Installation art, architecture, dancers, music, avant-garde fashion, all visual  materials, great artists, and my most beloved Mother Nature.\u003C\u002Fp>\n",{"variant":1116,"images":16560,"_type":73},[16561,16564],{"_id":16562,"url":16563,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2448,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F14-17.jpg",{"_id":16565,"url":16566,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2449,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F16-6.jpg",{"questions":16568,"_type":45},[16569],{"question":16570,"answer":16571},"\u003Cp>Do you find that there are specific objects you surround yourself with that you\u003Cbr \u002F>\nprobably couldn’t live without?\u003C\u002Fp>\n","\u003Cp>Scissors (there are dozens of scissors everywhere within my living radius— at home, in the car, in the studio, and even in the bathroom).\u003C\u002Fp>\n",{"variant":1116,"images":16573,"_type":73},[16574,16577],{"_id":16575,"url":16576,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2446,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F13-23.jpg",{"_id":16578,"url":16579,"alt":18,"caption":18,"credit":18,"width":16531,"height":526},2447,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F05\u002F12-33.jpg",{"questions":16581,"_type":45},[16582],{"question":16583,"answer":16584},"\u003Cp>Other than flowers, are there other mediums you’d like to explore sculpting with?\u003C\u002Fp>\n","\u003Cp>I have once exhibited a fabric installation art made of mold at the Saatchi  Gallery in London. I am open to creating sculptural works with natural  elements other than flowers.\u003C\u002Fp>\n",{"questions":16586,"_type":45},[16587],{"question":638,"answer":16588},"\u003Cp>I have just begun to reveal on Instagram the works I have been creating  alone for several years. Until then, I did not disclose them or tell anyone  because I needed to have certainty in myself. Therefore, I do not know  whether people will be able to discover me somewhere in the near future or  not. However, thankfully, it seems that quite a few people have started to  look upon me favorably. I will go anywhere in the world if it is a place where  I can do interesting work. My goal is to make myself a field of flower art. I  will definitely establish my flower studios domestically and abroad.\u003C\u002Fp>\n",{"_type":6,"_id":16590,"slug":16591,"name":16592,"index":10895,"date":16593,"thumbnails":16594,"description":18,"footerImage":16601,"categories":16604,"sections":16606},2451,"anoe-melliou","Anoe Melliou","2026-04-21",{"quote":16595,"main":16596,"secondary":16600,"reverse":24},"\u003Cp>“A module that is central for one composition, can become peripheral simply through recontextualization…”\u003C\u002Fp>\n",{"image":16597,"background":21,"fit":22},{"_id":16598,"url":16599,"alt":18,"caption":18,"credit":18,"width":4224,"height":6033},2452,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1.jpg",{"image":24,"background":21,"fit":22},{"_id":16602,"url":16603,"alt":18,"caption":18,"credit":18,"width":2473,"height":6033},2453,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2.jpg",[16605],{"_id":644,"slug":1883,"name":1884},[16607,16611,16615,16619,16624,16632,16637,16645,16650,16655,16660,16665,16670,16675,16680,16685,16690,16695],{"questions":16608,"_type":45},[16609],{"question":1766,"answer":16610},"\u003Cp>Hi, my name is Anoe. I’m based in Berlin.\u003C\u002Fp>\n",{"questions":16612,"_type":45},[16613],{"question":3060,"answer":16614},"\u003Cp>I’m an architect, and I lead a cross-disciplinary practice. I approach each project as a critical inquiry, engaging with notions of subjectivity, possibility and potential. I am also the founder of Regarding Relations, a collective exploring the personal and political through design and curation.\u003C\u002Fp>\n",{"images":16616,"size":56,"_type":57},[16617],{"_id":4112,"url":16618,"alt":18,"caption":18,"credit":18,"width":4841,"height":5861},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3.jpg",{"questions":16620,"_type":45},[16621],{"question":16622,"answer":16623},"\u003Cp>What early experiences led you into design?\u003C\u002Fp>\n","\u003Cp>I was drawn early to an intuitive kind of language, an associative logic. Geometry interested me as a system of forms, and relations. As I lived in Greece at that time, I was surrounded by ancient ruins and layered histories. The practice of reinterpreting myths and metaphors is inherent in that culture. At home, there were parallel instincts, in the context of processing information. My father is an engineer, and every Sunday brought the latest newspapers, and magazines. My mother, a lawyer, had an extensive library, and a precise system of folders and documents. I probably began to mirror that. I began to play with archiving—organizing varying forms of content and excerpts from editorials into a collection of folders, which may have been unusual at that age.\u003C\u002Fp>\n",{"variant":1116,"images":16625,"_type":73},[16626,16629],{"_id":16627,"url":16628,"alt":18,"caption":18,"credit":18,"width":4841,"height":5861},2455,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4.jpg",{"_id":16630,"url":16631,"alt":18,"caption":18,"credit":18,"width":4841,"height":5861},2456,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5.jpg",{"questions":16633,"_type":45},[16634],{"question":16635,"answer":16636},"\u003Cp>Your recent collection of objects and furniture is informed by writings that explore finality, how does that research translate into your own pieces?\u003C\u002Fp>\n","\u003Cp>I am concerned with the object’s limit conditions, where each configuration is held within a margin of viability. Every object is a test of its own limits, and an articulation of the margin in which form, structure, and perception can momentarily hold together before dissolving or collapsing. Working at a one-to-one scale is therefore a necessity dictated by this margin. There is a state of fragility, that is necessary. The emphasis is eventually on the thing, and the potential of its relations, its phases. I think about possibilities. The finality is therefore intentionally unresolved.\u003C\u002Fp>\n",{"variant":1116,"images":16638,"_type":73},[16639,16642],{"_id":16640,"url":16641,"alt":18,"caption":18,"credit":18,"width":4841,"height":5861},2457,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6.jpg",{"_id":16643,"url":16644,"alt":18,"caption":18,"credit":18,"width":4841,"height":5861},2458,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7.jpg",{"questions":16646,"_type":45},[16647],{"question":16648,"answer":16649},"\u003Cp>Many of your works are designed to be rearranged or reconfigured. What kinds of interactions do you hope they offer over time?\u003C\u002Fp>\n","\u003Cp>The series can be re-articulated through its setting. Over time, reconfigurations generate different proximities, tensions, and emphases. What matters in such an attempt is the elasticity of relations. A module that is central for one composition, can become peripheral simply through recontextualization; or something insignificant can suddenly exert structuring force. This kind of interaction brings insights into what is provisional.\u003C\u002Fp>\n",{"images":16651,"size":84,"_type":57},[16652],{"_id":16653,"url":16654,"alt":18,"caption":18,"credit":18,"width":5677,"height":3396},2459,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8.jpg",{"questions":16656,"_type":45},[16657],{"question":16658,"answer":16659},"\u003Cp>You’ve described your work as “relational” what does that word mean for you in a creative context?\u003C\u002Fp>\n","\u003Cp>I engage with the personal and the subjective as relational positions. The identity of the object emerges through context, and interaction. In gender theory, this has been described as situated knowledge and performativity—as frameworks that emphasise the contingent and constructed nature of perspective. In this sense, something that is relational reflects the conditions, and the negotiated limits, through which the identity of the object, and the use, is defined.\u003C\u002Fp>\n",{"images":16661,"size":84,"_type":57},[16662],{"_id":16663,"url":16664,"alt":18,"caption":18,"credit":18,"width":4924,"height":3940},2460,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9.jpg",{"questions":16666,"_type":45},[16667],{"question":16668,"answer":16669},"\u003Cp>You started Regarding Relations, a curatorial platform for designers, at its core, what is it about for you, and what does it allow you to explore?\u003C\u002Fp>\n","\u003Cp>It has been a way to create a collective, or a community. It is a project in progress: it has defined values, but the format is open. The reference to relations comes from the link to public relations; the strategy or structure that defines interaction. It has been a way to explore the scene, historical and contemporary, initially through a digital narrative, and from there to advance into encounters, conversations, and exhibitions. It allows me to share the shift of towards, and about — the context, and the method, for curating and interpreting design, with a sense of responsibility towards social and political conditions.\u003C\u002Fp>\n",{"images":16671,"size":84,"_type":57},[16672],{"_id":16673,"url":16674,"alt":18,"caption":18,"credit":18,"width":4924,"height":3940},2461,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F10.jpg",{"questions":16676,"_type":45},[16677],{"question":16678,"answer":16679},"\u003Cp>In Regarding Relations, how do you choose which works or designers to feature, is there a common thread between them?\u003C\u002Fp>\n","\u003Cp>What is essential for a curatorial practice and a community is the shift in paradigm. The archetype of the designer is limited, and disproportionately privileged. I am interested in designers from historically marginalised or underrepresented groups; particularly women practitioners across different regions, who for centuries were denied access to education, or have been erased from art, architecture and design history.\u003C\u002Fp>\n",{"images":16681,"size":56,"_type":57},[16682],{"_id":16683,"url":16684,"alt":18,"caption":18,"credit":18,"width":3441,"height":662},2462,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F11.jpg",{"questions":16686,"_type":45},[16687],{"question":16688,"answer":16689},"\u003Cp>Across your curation, editorial, and design work, you build open systems rather than fixed outcomes. How do these systems allow designers to think differently or question in their existing ways of working?\u003C\u002Fp>\n","\u003Cp>The system allows for a development of propositions, for continuity, and a sequence of possibilities.\u003C\u002Fp>\n",{"images":16691,"size":56,"_type":57},[16692],{"_id":16693,"url":16694,"alt":18,"caption":18,"credit":18,"width":3441,"height":662},2463,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F12.jpg",{"questions":16696,"_type":45},[16697],{"question":638,"answer":16698},"\u003Cp>For the latest updates follow @anoemelliou \u002F @regardingrelations and for exhibition related invites you’re welcome to join my newsletter via regarginrelations.com.\u003C\u002Fp>\n",{"_type":6,"_id":16700,"slug":16701,"name":16702,"index":16703,"date":16704,"thumbnails":16705,"description":18,"footerImage":16714,"categories":16717,"sections":16719},2465,"animate-objects","Animate Objects",134,"2026-05-09",{"quote":16706,"main":16707,"secondary":16713,"reverse":24},"\u003Cp>“Each piece is conceived almost like a character, with its own posture, gesture, and presence…”\u003C\u002Fp>\n",{"image":16708,"background":21,"fit":139},{"_id":16709,"url":16710,"alt":18,"caption":18,"credit":18,"width":16711,"height":16712},2727,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2-1-a.jpg",471,601,{"image":24,"background":21,"fit":22},{"_id":16715,"url":16716,"alt":18,"caption":18,"credit":18,"width":942,"height":662},2467,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1-1.jpg",[16718],{"_id":33,"slug":34,"name":35},[16720,16725,16729,16737,16742,16747,16752,16760,16765,16770,16775,16780,16785,16790,16795,16802,16807,16812,16817,16827],{"questions":16721,"_type":45},[16722],{"question":16723,"answer":16724},"\u003Cp>What’s your name and where are you from or based?\u003C\u002Fp>\n","\u003Cp>My name is Zeynep Satik. I am a designer based in Istanbul and the founder of Animate Objects.\u003C\u002Fp>\n",{"questions":16726,"_type":45},[16727],{"question":3060,"answer":16728},"\u003Cp>A practice that approaches furniture as narrative objects. The work sits between sculpture and function, often drawing from art history, mythology and theatre to create pieces that carry a sense of presence within a space.\u003C\u002Fp>\n",{"variant":1116,"images":16730,"_type":73},[16731,16734],{"_id":16732,"url":16733,"alt":18,"caption":18,"credit":18,"width":2299,"height":4589},2468,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3-1.jpg",{"_id":16735,"url":16736,"alt":18,"caption":18,"credit":18,"width":2299,"height":4589},2469,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4-1.jpg",{"questions":16738,"_type":45},[16739],{"question":16740,"answer":16741},"\u003Cp>What first drew you toward design and making objects?\u003C\u002Fp>\n","\u003Cp>Before founding Animate Objects, I worked in set design and art direction, where objects shape atmosphere and narrative. I was always interested in how even a small object could influence a scene. Animate Objects grew from translating that perspective into furniture, creating pieces that exist between function and presence, carrying a sense of narrative into living spaces.\u003C\u002Fp>\n",{"images":16743,"size":56,"_type":57},[16744],{"_id":16745,"url":16746,"alt":18,"caption":18,"credit":18,"width":2299,"height":4589},2470,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5-1.jpg",{"questions":16748,"_type":45},[16749],{"question":16750,"answer":16751},"\u003Cp>How did your background shape you as a designer?\u003C\u002Fp>\n","\u003Cp>I grew up in Istanbul, went to an Italian high school, then moved to London for university and eventually came back. So there has always been a mix of different cultures in my life. I wouldn’t say one place directly shaped me as a designer, but Istanbul is such a layered city, between continents, full of history, and always in motion. There is constantly something happening, and in a way, everything becomes political, which inevitably shapes how you process and interpret things.\u003C\u002Fp>\n",{"variant":1116,"images":16753,"_type":73},[16754,16757],{"_id":16755,"url":16756,"alt":18,"caption":18,"credit":18,"width":2299,"height":4589},2471,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6-1.jpg",{"_id":16758,"url":16759,"alt":18,"caption":18,"credit":18,"width":2299,"height":4589},2472,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7-1.jpg",{"questions":16761,"_type":45},[16762],{"question":16763,"answer":16764},"\u003Cp>Your background is in performance design. How do you think this plays into your design aesthetic?\u003C\u002Fp>\n","\u003Cp>Performance design is rooted in the performing arts, where objects, bodies, and space are in relation to one another. That way of thinking stayed with me. Each piece is conceived almost like a character, with its own posture, gesture, and presence.\u003C\u002Fp>\n",{"images":16766,"size":84,"_type":57},[16767],{"_id":16768,"url":16769,"alt":18,"caption":18,"credit":18,"width":2299,"height":7297},2473,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8-1.jpg",{"questions":16771,"_type":45},[16772],{"question":16773,"answer":16774},"\u003Cp>Can you tell us about your collection Liminal Parade?\u003C\u002Fp>\n","\u003Cp>Liminal Parade explores objects that exist between identities, not fully one thing or another. The collection approaches furniture as a kind of procession, where each piece reads almost like a figure rather than a purely functional object. It draws from a range of references, from Futurist stage design and Dada puppetry to masks and ancient archetypes, but rather than quoting them directly, it translates their language into form. I was interested in creating pieces that feel familiar yet slightly displaced, as if they belong to a different context. Together, they form a kind of silent theatre, where furniture moves closer to sculpture, and each piece carries its own presence.\u003C\u002Fp>\n",{"images":16776,"size":84,"_type":57},[16777],{"_id":16778,"url":16779,"alt":18,"caption":18,"credit":18,"width":5251,"height":1987},2474,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9-1.jpg",{"questions":16781,"_type":45},[16782],{"question":16783,"answer":16784},"\u003Cp>Your references span mythology, Futurism, Dada, cinema, fine art. What is it about these that speaks to you?\u003C\u002Fp>\n","\u003Cp>These references all share a strong visual language and an ability to communicate ideas through form. I am interested in moments in art history where imagination, symbolism and experimentation intersect. They offer a rich vocabulary that can be translated into objects.\u003C\u002Fp>\n",{"images":16786,"size":56,"_type":57},[16787],{"_id":16788,"url":16789,"alt":18,"caption":18,"credit":18,"width":5251,"height":1987},2475,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F10-1.jpg",{"questions":16791,"_type":45},[16792],{"question":16793,"answer":16794},"\u003Cp>Is there a specific reference from this collection that felt particularly meaningful or personal to explore?\u003C\u002Fp>\n","\u003Cp>I wouldn’t say there is a single piece tied to a personal story, but the way I approached each object is personal in itself. Certain pieces developed more intuitively, almost like scenes taking shape rather than objects being designed. The Runa Chair is one of those pieces. Inspired by Max Ernst’s The Couple in Lace, it felt like taking a form that belonged to the painting and giving it a new existence as a chair. This felt meaningful because it reflects the way I often work, moving between image, character, and object.\u003C\u002Fp>\n",{"variant":1116,"images":16796,"_type":73},[16797,16800],{"_id":16798,"url":16799,"alt":18,"caption":18,"credit":18,"width":5251,"height":1987},2476,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F11-1.jpg",{"_id":14136,"url":16801,"alt":18,"caption":18,"credit":18,"width":5251,"height":1987},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F12-1.jpg",{"questions":16803,"_type":45},[16804],{"question":16805,"answer":16806},"\u003Cp>Is there a detail somewhere in the collection that goes beyond reference and exists purely as something personal?\u003C\u002Fp>\n","\u003Cp>I think the use of amboyna burl might be one of those details. Before there was a specific design or reference, I already knew I wanted to create something with this material. It is not commonly seen in contemporary furniture, but it carries a strong connection to early twentieth century decorative arts and Art Deco furniture. I was drawn to that tension: a material with an old world elegance, brought into a more contemporary sculptural language. The reference and final form came later, but the first instinct came from the material.\u003C\u002Fp>\n",{"images":16808,"size":56,"_type":57},[16809],{"_id":16810,"url":16811,"alt":18,"caption":18,"credit":18,"width":1209,"height":5585},2478,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F13.jpg",{"questions":16813,"_type":45},[16814],{"question":16815,"answer":16816},"\u003Cp>Outside of design, what fuels your creativity?\u003C\u002Fp>\n","\u003Cp>I believe creativity is closely connected to curiosity and the way we choose to see the world, not just look at it. For me, travel is one of the strongest ways to keep that sense of curiosity alive. Discovering new places, visiting museums, observing architecture and interiors, trying a new flavour for the first time, noticing colours, textures, and the rhythm of different cities all feed into the way I see and imagine. Sometimes a detail, a room, or a certain atmosphere stays with me and later finds its way into my work.\u003C\u002Fp>\n",{"variant":1116,"images":16818,"_type":73},[16819,16823],{"_id":16820,"url":16821,"alt":18,"caption":18,"credit":16822,"width":1209,"height":5585},2479,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F14.jpg","Heizhaus at the Goetheanum, Switzerland",{"_id":16824,"url":16825,"alt":18,"caption":18,"credit":16826,"width":1209,"height":5585},2480,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F15.jpg","The Noguchi Museum, New York",{"questions":16828,"_type":45},[16829],{"question":638,"answer":16830},"\u003Cp>My work can be found through my website, www.animateobjects.co, on Instagram at @animateobjects_, as well as through The Oblist, Galerie Philia, and Lythore. I am also working on a few upcoming physical gallery collaborations, including one in Istanbul and another in Europe, but I would prefer to keep the details as a little surprise for now.\u003C\u002Fp>\n",{"_type":6,"_id":16832,"slug":16833,"name":16834,"index":16835,"date":16836,"thumbnails":16837,"description":18,"footerImage":16845,"categories":16849,"sections":16851},2482,"mohamed-said-chair","Mohamed Saïd chair",135,"2026-05-12",{"quote":16838,"main":16839,"secondary":16844,"reverse":24},"\u003Cp>“The face can deceive or conceal, the body, on the other hand, is more honest…”\u003C\u002Fp>\n",{"image":16840,"background":21,"fit":22},{"_id":16841,"url":16842,"alt":18,"caption":18,"credit":16843,"width":276,"height":920},2490,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7-2.jpg","Afikaris Gallery",{"image":24,"background":21,"fit":22},{"_id":16846,"url":16847,"alt":18,"caption":18,"credit":16848,"width":4766,"height":990},2484,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1-2.jpg","Amine Houari",[16850],{"_id":127,"slug":146,"name":147},[16852,16856,16860,16865,16870,16875,16880,16885,16890,16895,16900,16906,16911,16916,16921,16930,16935,16940,16945,16950,16955],{"questions":16853,"_type":45},[16854],{"question":1766,"answer":16855},"\u003Cp>My name is Mohamed Saïd chair , im Moroccan and I’m based in Tangier.\u003C\u002Fp>\n",{"questions":16857,"_type":45},[16858],{"question":3060,"answer":16859},"\u003Cp>I am a painter working within a contemporary figurative practice, primarily through portraiture. My work is informed by Renaissance painting techniques and methods, which I use to depict contemporary scenes, often in Morocco. Rather than focusing on facial likeness, my paintings frequently centre on body language, posture, and partial gestures. I think of these works as portraits nonetheless, where identity is carried through presence and physical relation rather than through direct representation.\u003C\u002Fp>\n",{"images":16861,"size":84,"_type":57},[16862],{"_id":16863,"url":16864,"alt":18,"caption":18,"credit":18,"width":2488,"height":2831},2486,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3-2.jpg",{"questions":16866,"_type":45},[16867],{"question":16868,"answer":16869},"\u003Cp>You studied Finance and worked as a banker before painting full time, what inspired this shift?\u003C\u002Fp>\n","\u003Cp>I’ve been a banker for almost four years and I have always painted since I was young. The passion and the ambition of being a full time artist have grown, and this was triggers me to quite my job to get deeply involved in art.\u003C\u002Fp>\n",{"images":16871,"size":84,"_type":57},[16872],{"_id":16873,"url":16874,"alt":18,"caption":18,"credit":16848,"width":2488,"height":2084},2487,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4-2.jpg",{"questions":16876,"_type":45},[16877],{"question":16878,"answer":16879},"\u003Cp>Your technique and references are self-taught, how has this shaped what you’re able to explore within your process?\u003C\u002Fp>\n","\u003Cp>I believe this reflects the path of many self-taught artists: first comes experimentation—through painting, photography, or drawing—and only afterwards comes the articulation of meaning.\u003C\u002Fp>\n\u003Cp>Working outside of an academic framework and the traditional art world allowed me to develop a more personal approach, shaped by my environment and lived experience. This is something that clearly appears in my paintings. For instance, my background in finance has been an unexpected source of inspiration, which can be seen in some of my works.\u003C\u002Fp>\n",{"images":16881,"size":56,"_type":57},[16882],{"_id":16883,"url":16884,"alt":18,"caption":18,"credit":16843,"width":276,"height":2084},2488,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5-2.jpg",{"questions":16886,"_type":45},[16887],{"question":16888,"answer":16889},"\u003Cp>This latest series presented at AFIKARIS in Paris is titled, Out of the Shadows, what does the shadow represent for you in relation to the people you portray?\u003C\u002Fp>\n","\u003Cp>In this series, I wanted to highlight ordinary people—figures from everyday life who are rarely represented in media or on social networks: carpenters, plumbers, craftsmen…\u003C\u002Fp>\n\u003Cp>To me, they are the true pillars of society. They often live in the shadows, and my intention was precisely to bring them into the light—hence the title Out of the Shadows.\u003C\u002Fp>\n\u003Cp>Shadow also plays an important visual role in my work. It allows me to dramatize scenes, reinforce their theatrical quality, and create an atmosphere that invites the viewer into a narrative.\u003C\u002Fp>\n",{"images":16891,"size":56,"_type":57},[16892],{"_id":16893,"url":16894,"alt":18,"caption":18,"credit":16843,"width":276,"height":920},2489,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6-2.jpg",{"questions":16896,"_type":45},[16897],{"question":16898,"answer":16899},"\u003Cp>You describe the work as reflecting the diversity of people in Tangier while remaining relatable internationally, what do you feel this portrayal of an Arab society, in all its complexity, is expressing?\u003C\u002Fp>\n","\u003Cp>As someone deeply influenced by classical European painting, I have always been struck by Orientalist painters such as Delacroix, Gérôme, and Ingres. However, their depictions of Arab societies were often romanticized, even folklorized, and not always aligned with reality.\u003C\u002Fp>\n\u003Cp>Yet Arab society—like any other—is complex, rich, and full of contradictions.\u003C\u002Fp>\n\u003Cp>My intention is therefore to reverse this perspective: to portray this society through the eyes of an Arab painter. This shift creates an interesting paradox and offers a more intimate, authentic, and grounded representation.\u003C\u002Fp>\n",{"images":16901,"size":84,"_type":57},[16902],{"_id":16903,"url":16904,"alt":18,"caption":18,"credit":18,"width":16905,"height":185},2483,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2-2.jpg",530,{"questions":16907,"_type":45},[16908],{"question":16909,"answer":16910},"\u003Cp>Your work is the result of a carefully orchestrated mise en scène, photography, and painting. Can you walk us through the stages that lead to the final pieces?\u003C\u002Fp>\n","\u003Cp>I begin with location scouting, searching for interiors with interesting architectural qualities and strong narrative potential.\u003C\u002Fp>\n\u003Cp>Then I meet with my models and, together with a stage director and a photographer, we construct the scene. We usually work with a single light source to create a chiaroscuro atmosphere.\u003C\u002Fp>\n\u003Cp>We take a large number of photographs, from which I select the most compelling images. These then serve as the foundation for the painting process.\u003C\u002Fp>\n",{"images":16912,"size":84,"_type":57},[16913],{"_id":16914,"url":16915,"alt":18,"caption":18,"credit":16843,"width":2313,"height":293},2491,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8-2.jpg",{"questions":16917,"_type":45},[16918],{"question":16919,"answer":16920},"\u003Cp>You deliberately conceal faces—what do you feel the body reveals more of?\u003C\u002Fp>\n","\u003Cp>The face has always held a central place in portraiture. During the Renaissance, it was often the focal point, especially in religious or royal commissions, where it served to glorify figures. Later, artists like Rembrandt used the face to convey emotion and psychological depth.\u003C\u002Fp>\n\u003Cp>Today, in the age of social media, faces tend to become standardized and lose their singularity. Moreover, the face can deceive or conceal.\u003C\u002Fp>\n\u003Cp>The body, on the other hand, is more honest. It conveys tension, attitude, and presence. By concealing faces, I aim to restore the expressive power of the body, making it the primary vehicle for meaning and narrative.\u003C\u002Fp>\n",{"variant":1179,"images":16922,"_type":73},[16923,16927],{"_id":16924,"url":16925,"alt":18,"caption":18,"credit":16843,"width":16926,"height":293},2492,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9-2.jpg",428,{"_id":16928,"url":16929,"alt":18,"caption":18,"credit":16843,"width":16926,"height":293},2493,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F10-2.jpg",{"questions":16931,"_type":45},[16932],{"question":16933,"answer":16934},"\u003Cp>You refer to the Mannerism movement that followed the High Renaissance, where artists embraced stylization, exaggeration, and a more staged approach to composition. What does this allow you to convey in your work?\u003C\u002Fp>\n","\u003Cp>In the same way that Caravaggio broke away from Mannerism by returning to a more grounded realism, I try, in my own way, to break away from contemporary illusions—particularly those shaped by social media.\u003C\u002Fp>\n\u003Cp>These platforms often impose aesthetic standards that are disconnected from reality. My work seeks to redirect the viewer’s gaze toward the real—toward life as it truly is, in all its complexity.\u003C\u002Fp>\n",{"images":16936,"size":84,"_type":57},[16937],{"_id":16938,"url":16939,"alt":18,"caption":18,"credit":16848,"width":16926,"height":293},2494,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F11-2.jpg",{"questions":16941,"_type":45},[16942],{"question":16943,"answer":16944},"\u003Cp>Are there other references that inform your work?\u003C\u002Fp>\n","\u003Cp>My work is shaped by a dialogue between different periods and influences. I remain deeply influenced by classical European painting—from the Renaissance to the Baroque—particularly in my use of light, composition, and staging.\u003C\u002Fp>\n\u003Cp>At the same time, my everyday environment in Tangier plays a crucial role: the spaces, architecture, bodies, and attitudes I observe directly feed into my work. There is also a contemporary influence linked to photography and the way visual narratives are constructed today.\u003C\u002Fp>\n",{"images":16946,"size":84,"_type":57},[16947],{"_id":16948,"url":16949,"alt":18,"caption":18,"credit":18,"width":2411,"height":293},2495,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F12-2.jpg",{"questions":16951,"_type":45},[16952],{"question":16953,"answer":16954},"\u003Cp>Outside of the studio, what fuels your creativity?\u003C\u002Fp>\n","\u003Cp>Music plays an important role in my daily life. I listen to classical and Baroque music, as well as rap and Arabic songs—this mix accompanies different phases of my work and reflection.\u003C\u002Fp>\n\u003Cp>Sport is also essential to me, especially boxing and weight training. I practice regularly, but I also enjoy watching boxing. Beyond the physical aspect, it carries a sense of discipline, tension, and bodily presence that directly resonates with my artistic practice.\u003C\u002Fp>\n",{"questions":16956,"_type":45},[16957],{"question":638,"answer":16958},"\u003Cp>I am based in Tangier, where I primarily work. My work is also presented internationally through exhibitions, including recently in Paris (Afikaris Gallery).\u003C\u002Fp>\n\u003Cp>People can follow my work and stay updated on my projects through my social media, where I share ongoing work and upcoming exhibitions.\u003C\u002Fp>\n",{"_type":6,"_id":16960,"slug":16961,"name":16962,"index":16963,"date":16964,"thumbnails":16965,"description":18,"footerImage":16972,"categories":16975,"sections":16977},2497,"christian-saint","Christian Saint",136,"2026-05-21",{"quote":16966,"main":16967,"secondary":16971,"reverse":24},"\u003Cp>“These stories don’t lose power when they are rooted deeply in their origins, they actually become stronger…”\u003C\u002Fp>\n",{"image":16968,"background":21,"fit":139},{"_id":16969,"url":16970,"alt":18,"caption":18,"credit":18,"width":2405,"height":5526},2498,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2-3.jpg",{"image":24,"background":21,"fit":22},{"_id":16973,"url":16974,"alt":18,"caption":18,"credit":18,"width":2411,"height":5526},2499,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1-3.jpg",[16976],{"_id":127,"slug":146,"name":147},[16978,16982,16986,16991,16996,17000,17005,17014,17019,17027,17032,17037,17042,17047,17052,17059,17064,17069],{"questions":16979,"_type":45},[16980],{"question":1766,"answer":16981},"\u003Cp>I’m Christian St. Marshall Boakye, a Ghanaian artist born and raised in Ghana, where I lead the creative production studio NEWSAINT. Having spent part of my formative creative years in the UAE, I developed a trans-western perspective that continues to shape my work. I am currently based in London, UK.\u003C\u002Fp>\n",{"questions":16983,"_type":45},[16984],{"question":3060,"answer":16985},"\u003Cp>My practice unfolds at the intersection of cinema, fashion, poetry and African cultural storytelling. Working through a visual language shaped by architecture, poetry , surrealism with global expressionism, I construct images that challenge inherited representations while imagining new ways of seeing contemporary African identity. My films and image-making move fluidly between fine art, culture, fashion, and cinematic narrative, creating immersive visual worlds where African perspectives stand confidently at the centre of global visual culture.\u003C\u002Fp>\n",{"images":16987,"size":139,"_type":57},[16988],{"_id":16989,"url":16990,"alt":18,"caption":18,"credit":18,"width":4610,"height":5526},2500,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3-3.jpg",{"questions":16992,"_type":45},[16993],{"question":16994,"answer":16995},"\u003Cp>How did you first get into visual storytelling through photography and film?\u003C\u002Fp>\n","\u003Cp>At the age of 12, I lost my father, who was an accessory designer, early in my life. The only way I was able to find any sense of connection with him was through a photo album my mother gave me, which allowed\u003Cbr \u002F>\nme to see what he looked like when he was younger. That experience shaped my desire to document stories for people who may not have the opportunity to tell their own. That’s where my journey began.\u003C\u002Fp>\n",{"images":16997,"size":84,"_type":57},[16998],{"_id":6474,"url":16999,"alt":18,"caption":18,"credit":18,"width":1827,"height":5526},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4-3.jpg",{"questions":17001,"_type":45},[17002],{"question":17003,"answer":17004},"\u003Cp>How do you think growing up in Ghana shaped the way you see the world?\u003C\u002Fp>\n","\u003Cp>Growing up in Ghana has deeply shaped my perspective and approach to my practice. The people, environment, and culture have all influenced my taste, values, and even my understanding of what success and happiness truly mean. I come from the Akan ethnic group in the eastern part of Ghana. Listening to my grandmother, who lives in the village, share stories especially the traditional ones passed down from her ancestors when she was my age around the fireside has had a lasting impact on me. It has shaped the way I interpret storytelling, blending poetry with cultural depth, surrealism, and African spirituality.\u003C\u002Fp>\n",{"variant":1179,"images":17006,"_type":73},[17007,17011],{"_id":17008,"url":17009,"alt":18,"caption":18,"credit":18,"width":1827,"height":17010},2502,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5.2.jpg",435,{"_id":17012,"url":17013,"alt":18,"caption":18,"credit":18,"width":1827,"height":17010},2503,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5-3.jpg",{"questions":17015,"_type":45},[17016],{"question":17017,"answer":17018},"\u003Cp>Positioning Africans as custodians of their own history is central to your practice. It feels like something that should naturally be a given, yet the fact that it needs stating points to something deeper within the system. When did you first feel the need to make this explicit in your work?\u003C\u002Fp>\n","\u003Cp>I first felt the need to make it explicit when I started working outside of Ghana as I moved out of Ghana and began seeing how African stories were being interpreted, packaged, and often simplified through an external lens. Growing up, so much of what I knew about my culture was carried through oral storytelling, family, and lived experience. There was a particular moment early in my career where I saw an African reference being used in a way that stripped it of its spiritual and historical context, and it made me question who gets to define the true meaning. That was a turning point for me. From then on, it became less about making a statement and more about responsibility. I started to feel a duty to ensure that the people within the culture are the ones shaping how it is seen, understood, and preserved not as an act of correction, but as a form of authorship. So for me, it’s not something I added to my practice later. It’s something that became unavoidable once I stepped into spaces where I saw what happens when that authorship is missing.\u003C\u002Fp>\n",{"variant":1116,"images":17020,"_type":73},[17021,17024],{"_id":17022,"url":17023,"alt":18,"caption":18,"credit":18,"width":1827,"height":17010},2504,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F62.jpg",{"_id":17025,"url":17026,"alt":18,"caption":18,"credit":18,"width":1827,"height":17010},2505,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6-3.jpg",{"questions":17028,"_type":45},[17029],{"question":17030,"answer":17031},"\u003Cp>Your work draws heavily from African imagery and storytelling traditions, what is it about these visuals that continues to keep you inspired?\u003C\u002Fp>\n","\u003Cp>What keeps drawing me back to African imagery and storytelling is that I don’t see it as something I’m simply referencing in the present. I see it as something I’m actively contributing to as a future archive. For\u003Cbr \u002F>\nme, these visuals carry memory, spirituality, and lived history that isn’t always formally documented, yet exists very vividly in culture, oral tradition, and everyday life. I’m interested in preserving that density of meaning before it gets flattened or reinterpreted outside of its original context. A lot of what inspires me comes from the way symbolism is embedded into African life, how hair, fabric, gesture, colour, and ritual all function as language. I see my work as a way of holding onto those codes and translating them into a cinematic archive that can exist beyond time and geography. The end goal for me is preservation through image-making. Not just creating films for the moment, but building a body of work that functions like an evolving archive, one that protects nuance, authorship, and cultural memory for future generations to return to and understand on their own terms.\u003C\u002Fp>\n",{"images":17033,"size":7031,"_type":57},[17034],{"_id":17035,"url":17036,"alt":18,"caption":18,"credit":18,"width":2630,"height":2476},2506,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7-3.jpg",{"questions":17038,"_type":45},[17039],{"question":17040,"answer":17041},"\u003Cp>Is there a specific story or reference in one of your projects (or more) that felt especially personal?\u003C\u002Fp>\n","\u003Cp>Yes, Sundiata is probably the most personal work for me so far. It was created in March 2025, and what made it resonate so deeply is that it sits right at the intersection of history, myth, and identity but also responsibility. Working on it felt less like “making a project” and more like stepping into something that already existed long before me, and trying to translate it through a contemporary lens without losing its original weight. What stayed with me most was the idea of legacy not just in the historical sense of Sundiata as a figure, but in how stories survive, shift, and are carried across generations. There was something very reflective in that process for me, especially as someone who is also thinking about how African narratives are preserved and authored in global spaces. Seeing it be globally received well was affirming, but more importantly, it reinforced the idea that these stories don’t lose power when they are rooted deeply in their origins, they actually become stronger.\u003C\u002Fp>\n",{"images":17043,"size":84,"_type":57},[17044],{"_id":17045,"url":17046,"alt":18,"caption":18,"credit":18,"width":2630,"height":2476},2507,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8-3.jpg",{"questions":17048,"_type":45},[17049],{"question":17050,"answer":17051},"\u003Cp>Are there specific people who have influenced or inspired your practice?\u003C\u002Fp>\n","\u003Cp>Ousmane Sembène and Djibril Diop Mambéty really influenced how I think about African authorship and poetic storytelling. From a contemporary lens, Kahlil Joseph and Barry Jenkins have shaped my approach to emotion, memory, and intimacy in image-making. Photographically, James Barnor is very important to me in terms of thinking about visual archives and preservation especially when he documented Ghana during the post colonial era. And filmmakers like Martin Scorsese, Wes Anderson, and Andrey Tarkovsky have influenced how I think about structure, composition, time, and\u003Cbr \u002F>\natmosphere. Alongside that, Kerry James Marshall continues to shape how I see Black presence within the frame as central, complete, and unmediated.\u003C\u002Fp>\n",{"images":17053,"size":56,"_type":57},[17054],{"_id":17055,"url":17056,"alt":18,"caption":18,"credit":18,"width":17057,"height":17058},2508,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9-3.jpg",566,463,{"questions":17060,"_type":45},[17061],{"question":17062,"answer":17063},"\u003Cp>Outside of film and photography, what continues to fuel your creativity?\u003C\u002Fp>\n","\u003Cp>Outside of film and photography, my creativity is constantly fuelled by being in it daily in different forms. I go to the cinema often, and I read a lot of books by filmmakers, which helps me stay connected to how others think about image-making and storytelling. I’m also a lecturer at University of Arts London, where I teach creative direction, and that really keeps me engaged with the next generation of creatives. Being in that space forces me to constantly articulate, question, and refine my own practice. It becomes a kind of feedback loop, what I teach feeds my work, and my work feeds what I teach.\u003C\u002Fp>\n",{"images":17065,"size":139,"_type":57},[17066],{"_id":17067,"url":17068,"alt":18,"caption":18,"credit":18,"width":8702,"height":17058},2509,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F10-3.jpg",{"questions":17070,"_type":45},[17071],{"question":638,"answer":17072},"\u003Cp>People can find me primarily on Instagram at @christivnsaint. In terms of current and upcoming work, I’m part of a group exhibition in Paris running from June 4 – 7, and I’m also currently screening a short film at the African New York Film Festival this May. At the moment, my focus is on developing new stories rooted in African spirituality and narratives of empowerment, continuing to build a body of work that explores cultural memory, identity, and authorship.\u003C\u002Fp>\n",{"_type":6,"_id":17074,"slug":17075,"name":17076,"index":10908,"date":17077,"thumbnails":17078,"description":18,"footerImage":17085,"categories":17088,"sections":17090},2513,"mahsa-merci","Mahsa Merci","2026-05-31",{"quote":17079,"main":17080,"secondary":17084,"reverse":24},"\u003Cp>“Absence can articulate presence, just as presence can carry traces of absence…”\u003C\u002Fp>\n",{"image":17081,"background":21,"fit":22},{"_id":17082,"url":17083,"alt":18,"caption":18,"credit":18,"width":5735,"height":2442},2515,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2-4.jpg",{"image":24,"background":21,"fit":22},{"_id":17086,"url":17087,"alt":18,"caption":18,"credit":18,"width":2144,"height":17058},2514,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1-4.jpg",[17089],{"_id":127,"slug":146,"name":147},[17091,17095,17099,17104,17109,17117,17122,17127,17132,17140,17145,17153,17158,17166,17171,17179,17184,17192],{"questions":17092,"_type":45},[17093],{"question":1766,"answer":17094},"\u003Cp>My name is Mahsa Merci, I was born in Tehran, capital city of Iran. I am living and working in Toronto , Canada.\u003C\u002Fp>\n",{"questions":17096,"_type":45},[17097],{"question":3060,"answer":17098},"\u003Cp>My practice revolves around an ongoing attempt to define and re-define the self, as a layered, unstable, and continuously shifting structure. I am interested in how the self emerges from the unconscious, how it is shaped through lived experience, and how structures of power become internalized and inscribed onto the body over time. Rather than seeking resolution or clarity, my work is driven by the act of questioning itself, allowing uncertainty to function as a generative force. Through painting, drawing, sculpture, and installation, I explore the psychological and emotional layers that construct identity, with particular attention to queerness as a lived condition. Desire, concealment, and exposure recur as central forces within this inquiry, revealing how identity is formed, fractured, suppressed, and continuously reconfigured. My practice does not aim to define the self conclusively, but to trace its instability, acknowledging the self as something that is constantly dissolving, reforming, and negotiating its presence within broader social and political structures.\u003C\u002Fp>\n",{"images":17100,"size":56,"_type":57},[17101],{"_id":17102,"url":17103,"alt":18,"caption":18,"credit":18,"width":5735,"height":2442},2516,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3-4.jpg",{"questions":17105,"_type":45},[17106],{"question":17107,"answer":17108},"\u003Cp>When did painting become a way of making sense of yourself?\u003C\u002Fp>\n","\u003Cp>Painting has always been the most difficult and painful medium for me. Every time I begin a work, I enter a space of uncertainty where I’m never fully sure what will emerge or where the painting will eventually lead me. At the same time, this difficulty is exactly what keeps me attached to it. Painting feels less like executing an idea and more like entering a conversation with something unstable and partially unknown. Over time, I realized that I cannot approach painting in a completely controlling or dictatorial way. The material itself, paint, gestures, stains, textures, accidents, begins to push back and generate its own direction. Very often, the work arrives somewhere I could never have anticipated beforehand, and that unpredictability is what makes the process feel alive to me. Through layering, repetition, erasure, and fragmentation, painting became a space where I can remain close to what is unresolved, unconscious, or difficult to articulate directly. The process can feel exhausting, even brutal at times. I often think about Francis Bacon describing painting as trying to escape a swamp, and I deeply understand that feeling, the sense of struggling inside the work while simultaneously trying to save it from collapsing. Yet within that tension, painting also becomes one of the few places where I can genuinely discover something beyond my own intentions. It operates somewhere between control and surrender, instinct and reflection, becoming a continuous process of negotiating both the work and myself through it.\u003C\u002Fp>\n",{"variant":1179,"images":17110,"_type":73},[17111,17114],{"_id":17112,"url":17113,"alt":18,"caption":18,"credit":18,"width":1830,"height":573},2517,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4-4.jpg",{"_id":17115,"url":17116,"alt":18,"caption":18,"credit":18,"width":1830,"height":573},2518,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5-4.jpg",{"questions":17118,"_type":45},[17119],{"question":17120,"answer":17121},"\u003Cp>There’s a sense of exposure and concealment in your work. What does being visible mean for you?\u003C\u002Fp>\n","\u003Cp>For me, concealment is just as intentional and meaningful as revelation. This space between being seen and remaining hidden, this in-between state, is where the core tension of my work takes shape. I am consistently drawn to dualities: between being and non-being, presence and absence, visibility and invisibility, conscious and unconscious. This state of in-betweenness is not transitional for me, but central to both my thinking and practice. Visibility, for me, does not mean complete transparency or direct exposure. It functions more as an ongoing negotiation, how much can be shown without erasing what needs to remain protected. In my work, absence can articulate presence, just as presence can carry traces of absence. Both sides of this duality are equally important, as it is through their tension that the complexity of meaning emerges. In this sense, visibility becomes an unstable and continuously shifting act, a form of presence that allows recognition without full surrender, and exposure without total disclosure.\u003C\u002Fp>\n",{"images":17123,"size":84,"_type":57},[17124],{"_id":17125,"url":17126,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2519,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6-4.jpg",{"questions":17128,"_type":45},[17129],{"question":17130,"answer":17131},"\u003Cp>Many of your figures are duplicated, or fragmented. Is fragmentation something you resonate with?\u003C\u002Fp>\n","\u003Cp>Yes, very much. For me, fragmentation is not simply a visual strategy or aesthetic decision; it feels deeply connected to how I experience identity itself. I don’t really see the self as something stable, unified, or fully coherent. It constantly shifts between different emotional, psychological, and social states, sometimes even contradictory ones. Fragmentation, in that sense, becomes less about breaking something apart and more about acknowledging that multiplicity already exists within us. Duplication also plays an important role in my work for a similar reason. Repeated figures are never meant to function as exact copies of one another. Instead, they create a kind of dialogue or tension between different states of being — almost like a negotiation between the conscious and unconscious, control and vulnerability, concealment and exposure. Sometimes a figure feels like it is confronting another version of itself, or existing beside a parallel emotional state that cannot fully merge into one singular identity.\u003C\u002Fp>\n",{"variant":1179,"images":17133,"_type":73},[17134,17137],{"_id":17135,"url":17136,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2520,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7-4.jpg",{"_id":17138,"url":17139,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2521,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8-4.jpg",{"questions":17141,"_type":45},[17142],{"question":17143,"answer":17144},"\u003Cp>Your paintings have layered and tactile surfaces, what does texture allow you to say?\u003C\u002Fp>\n","\u003Cp>For me, texture is a way of saying something that the image alone cannot fully communicate. I think a surface can hold traces of time, pressure, hesitation, repetition, or even resistance. Every layer carries evidence of a process, moments of building, destroying, covering, or returning. In that sense, texture becomes less decorative and more psychological or bodily for me. I often think of the painted surface almost like skin, something that records pressure, vulnerability, exposure, and time. I’m interested in surfaces that feel unstable or unresolved rather than polished or complete. Through density, layering, scratches, stains, and accumulation, the painting begins to hold a kind of physical memory. It moves beyond being only an image and becomes something closer to an embodied experience. I think texture allows contradictions, doubt, and vulnerability to remain visible within the work instead of being smoothed over or hidden.\u003C\u002Fp>\n",{"variant":1179,"images":17146,"_type":73},[17147,17150],{"_id":17148,"url":17149,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2522,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9.1.jpg",{"_id":17151,"url":17152,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2523,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9-4.jpg",{"questions":17154,"_type":45},[17155],{"question":17156,"answer":17157},"\u003Cp>What’s behind the detailed symbols in your work?\u003C\u002Fp>\n","\u003Cp>In my work, these elements function less as fixed symbols and more as ways of thinking through lived experience, identity, and the body. I’m interested in how certain materials or images can carry emotional, political, and psychological tension simultaneously. For me, hair has always been deeply political. Growing up in Iran, hair was never simply aesthetic; it was tied to control, visibility, restriction, and resistance. That relationship has stayed with me and continues to appear throughout my work. Skin also interests me as a kind of threshold — a surface where vulnerability, desire, memory, and the gaze of others become registered. I often think about the body as something that absorbs pressure and experience over time. Mirrors are important to me both personally and culturally. My use of mirror work comes partly from Iranian artistic traditions, which I practice myself, but also from an ongoing fascination with reflection and fragmentation. Rather than producing a complete image, mirrors break the body into unstable and shifting pieces, and that feels much closer to how I understand identity itself. Makeup operates similarly for me — somewhere between construction, performance, concealment, and protection. It allows the face to become a space of transformation rather than something fixed or singular. Taken together, these elements form a visual language for approaching things that are difficult to articulate directly. I’m less interested in giving definitive meanings and more interested in creating spaces where identity can remain unstable, layered, and unresolved.\u003C\u002Fp>\n",{"variant":1116,"images":17159,"_type":73},[17160,17163],{"_id":17161,"url":17162,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2524,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F10-4.jpg",{"_id":17164,"url":17165,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2525,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F11-3.jpg",{"questions":17167,"_type":45},[17168],{"question":17169,"answer":17170},"\u003Cp>Regarding the mirrors, is reflection something you trust?\u003C\u002Fp>\n","\u003Cp>Honestly, I don’t think I fully trust reflection in its usual form, the kind of mirror that gives back a clean, singular, stable image of yourself. That image has always felt too simplified to me, almost artificial. I feel much more connected to the mirrors I create myself through mirror work. Even though they appear structured and visually\u003Cbr \u002F>\nbeautiful from a distance, they never allow you to see a complete or fully stable version of yourself. When you stand in front of them and try to recognize your face, everything begins to fragment, the eyes, the mouth, the skin — repeated and broken into multiple pieces. Strangely, that fragmented image feels more honest and more trustworthy to me than a unified reflection. It reminds me that identity is layered, unstable, and constantly shifting. In a way, those broken reflections allow me to come closer to parts of myself that a normal mirror could never reveal.\u003C\u002Fp>\n",{"images":17172,"size":84,"_type":57},[17173,17176],{"_id":17174,"url":17175,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2526,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F12-3.jpg",{"_id":17177,"url":17178,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2527,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F13-1.jpg",{"questions":17180,"_type":45},[17181],{"question":17182,"answer":17183},"\u003Cp>If your process is a form of self-understanding, are there things you recognize in your earlier works that now feel somewhat distant or unfamiliar to you?\u003C\u002Fp>\n","\u003Cp>My practice has never been structured around isolated projects; it has unfolded as a continuous process throughout my life. For this reason, it is difficult for me to view my earlier works as something entirely unfamiliar or disconnected from who I am now. Each work formed part of a necessary path that led me to my current position. Over time, a sense of distance does emerge, but it is a distance shaped by growth, experience, and shifting awareness. My earlier works feel like steps within a house: each one essential in allowing me to move upward, even if I now look back at them from a different level. In this sense, my past works are neither something I have separated from nor something I remain identical to. They continue to exist as integral layers of my practice, without them, my present work would not be possible.\u003C\u002Fp>\n",{"variant":176,"images":17185,"_type":73},[17186,17189],{"_id":17187,"url":17188,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2528,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F14-1.jpg",{"_id":17190,"url":17191,"alt":18,"caption":18,"credit":18,"width":16272,"height":573},2529,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F15-1.jpg",{"questions":17193,"_type":45},[17194],{"question":638,"answer":17195},"\u003Cp>I’m working at my studio in Toronto. I’m usually in the studio most days. Also, you can find my work on Instagram at @mahsa.merci\u003C\u002Fp>\n",{"_type":6,"_id":17197,"slug":17198,"name":17199,"index":17200,"date":17201,"thumbnails":17202,"description":18,"footerImage":17209,"categories":17212,"sections":17214},2532,"sander-coers","Sander Coers",138,"2026-06-08",{"quote":17203,"main":17204,"secondary":17208,"reverse":24},"\u003Cp>“AI allowed me to visualize moments that were never photographed and histories that only exist through speculation, memory, or storytelling…”\u003C\u002Fp>\n",{"image":17205,"background":21,"fit":511},{"_id":17206,"url":17207,"alt":18,"caption":18,"credit":18,"width":11332,"height":4685},2594,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002FSANDER-Coers.jpg",{"image":24,"background":21,"fit":22},{"_id":17210,"url":17211,"alt":18,"caption":18,"credit":18,"width":566,"height":1787},2533,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1-5.jpg",[17213],{"_id":127,"slug":146,"name":147},[17215,17219,17223,17229,17234,17239,17244,17249,17254,17259,17264,17269,17274,17279,17284,17289,17294,17299],{"questions":17216,"_type":45},[17217],{"question":1766,"answer":17218},"\u003Cp>My name is Sander Coers. I was born in 1997 in Terneuzen, a coastal town in the southwest of the Netherlands, and I’m currently based in Rotterdam.\u003C\u002Fp>\n",{"questions":17220,"_type":45},[17221],{"question":3060,"answer":17222},"\u003Cp>My practice explores how personal and collective histories are shaped through memory, imagination, and inheritance. Working from family archives, found photographs, and artificial intelligence, I try to approach the image as a space where reality and fiction overlap.\u003C\u002Fp>\n",{"images":17224,"size":56,"_type":57},[17225],{"_id":17226,"url":17227,"alt":18,"caption":18,"credit":18,"width":17228,"height":1787},2535,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2-5.jpg",577,{"questions":17230,"_type":45},[17231],{"question":17232,"answer":17233},"\u003Cp>How did you first begin working with photography?\u003C\u002Fp>\n","\u003Cp>I started photographing around 2016 after borrowing an old analogue camera from a friend. At first it was simply a way of documenting friends and everyday life, but I quickly became obsessed by photography’s ability to transform ordinary moments into something surreal. That obsession still plays a central role in my work today although I mostly use my iPhone to capture moments or details that strike me!\u003C\u002Fp>\n",{"images":17235,"size":84,"_type":57},[17236],{"_id":17237,"url":17238,"alt":18,"caption":18,"credit":18,"width":17228,"height":1787},2536,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3-5.jpg",{"questions":17240,"_type":45},[17241],{"question":17242,"answer":17243},"\u003Cp>What led you to using personal archives and memories as a primary source of material?\u003C\u002Fp>\n","\u003Cp>I’ve always been drawn to family photo albums. Growing up, I spent a lot of time looking through old photographs and wondering about the stories that existed beyond the frame. Personal archives contain both information and gaps. They reveal certain things while leaving many others unanswered. Those missing pieces often become the starting point for my work.\u003C\u002Fp>\n",{"images":17245,"size":56,"_type":57},[17246],{"_id":17247,"url":17248,"alt":18,"caption":18,"credit":18,"width":5526,"height":1787},2537,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4-5.jpg",{"questions":17250,"_type":45},[17251],{"question":17252,"answer":17253},"\u003Cp>There’s a recurring sense of absence in your work, with figures and objects partially hidden or zoomed into. Do you think absence can be as evocative as presence?\u003C\u002Fp>\n","\u003Cp>Absolutely. In many ways, absence invites imagination. When something is partially obscured or missing, viewers are encouraged to fill in the gaps themselves. Memory often works in a similar way. We rarely remember things completely; instead we reconstruct fragments. I’m interested in creating images that leave room for that uncertainty and projection.\u003C\u002Fp>\n",{"images":17255,"size":56,"_type":57},[17256],{"_id":17257,"url":17258,"alt":18,"caption":18,"credit":18,"width":5526,"height":1787},2538,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5-5.jpg",{"questions":17260,"_type":45},[17261],{"question":17262,"answer":17263},"\u003Cp>You combine analogue material with AI-generated imagery. What led you to introduce AI into your process, and what did it allow?\u003C\u002Fp>\n","\u003Cp>I started using AI while working with my family archives, at first as an experiment to try and find the flaws in the program. I noticed that it did have those flaws, but also introduced an element of uncertainty, an element of play. Rather than treating photographs as fixed records of reality, I became interested in what happens when images can be expanded, altered, or reimagined. AI allowed me to visualize moments that were never photographed and histories that only exist through speculation, memory, or storytelling. It became another tool for exploring the unstable nature of remembrance.\u003C\u002Fp>\n",{"images":17265,"size":84,"_type":57},[17266],{"_id":17267,"url":17268,"alt":18,"caption":18,"credit":18,"width":5526,"height":2894},2539,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6-5.jpg",{"questions":17270,"_type":45},[17271],{"question":17272,"answer":17273},"\u003Cp>Can you tell us about a specific body of work that felt like a turning point in your practice?\u003C\u002Fp>\n","\u003Cp>A project called POST which I started back in 2023 was definitely a turning point. The project began with my grandfather’s family albums and introduced AI into my practice for the first time. It shifted my focus from documenting the world around me toward actively reconstructing and questioning personal histories. Many of the themes that continue to shape my work today emerged through that project.\u003C\u002Fp>\n",{"images":17275,"size":84,"_type":57},[17276],{"_id":17277,"url":17278,"alt":18,"caption":18,"credit":18,"width":5526,"height":2894},2540,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7-5.jpg",{"questions":17280,"_type":45},[17281],{"question":17282,"answer":17283},"\u003Cp>Each of your bodies of work is deeply personal, tracing different aspects of your roots and identity. Is there a particular body of work you see yourself continuing to develop over time?\u003C\u002Fp>\n","\u003Cp>The broader investigation into my family history and dynamics is something I expect to continue for a long time. Projects like POST and Eulogy opened up questions about migration, inheritance, memory, and intergenerational trauma that feel far from resolved. Each project uncovers new stories, connections, and unanswered questions, which often lead to the next body of work.\u003C\u002Fp>\n",{"images":17285,"size":84,"_type":57},[17286],{"_id":17287,"url":17288,"alt":18,"caption":18,"credit":18,"width":5526,"height":2894},2541,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8-5.jpg",{"questions":17290,"_type":45},[17291],{"question":17292,"answer":17293},"\u003Cp>Beyond your practice, what keeps you inspired?\u003C\u002Fp>\n","\u003Cp>While working, I often listen to classical music or film scores, which somehow help me slow down and focus. When I’m off work, I try to spend as much time in nature as possible, surround myself with friends, travel, and discover new places. Oh and recently, I’ve also picked up gardening, which turns out to be surprisingly difficult.\u003C\u002Fp>\n",{"images":17295,"size":56,"_type":57},[17296],{"_id":17297,"url":17298,"alt":18,"caption":18,"credit":18,"width":968,"height":2894},2542,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9-5.jpg",{"questions":17300,"_type":45},[17301],{"question":638,"answer":17302},"\u003Cp>My studio is based in Rotterdam, and people are always welcome to drop by. You can find my work on Instagram at @sandercoers or visit www.sandercoers.com. I have several exhibitions and projects coming up this year, so keep an eye on my website and social channels for updates.\u003C\u002Fp>\n",{"_type":6,"_id":17304,"slug":17305,"name":17306,"index":17307,"date":17308,"thumbnails":17309,"description":18,"footerImage":17316,"categories":17321,"sections":17323},2544,"amrita-dhillon","Amrita Dhillon",139,"2026-06-17",{"quote":17310,"main":17311,"secondary":17315,"reverse":24},"\u003Cp>“Because femininity is never only beautiful. It can also be rehearsed, dangerous, half-monstrous, half-alien…”\u003C\u002Fp>\n",{"image":17312,"background":21,"fit":22},{"_id":17313,"url":17314,"alt":18,"caption":18,"credit":18,"width":2880,"height":2894},2547,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F2-6.jpg",{"image":24,"background":21,"fit":22},{"_id":17317,"url":17318,"alt":18,"caption":18,"credit":17319,"width":17320,"height":2894},2545,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F1-6.jpg","Micki Rosi Richter",575,[17322],{"_id":127,"slug":146,"name":147},[17324,17328,17332,17337,17342,17347,17352,17358,17363,17369,17374,17380,17385,17391,17396,17402,17407,17413,17417,17423],{"questions":17325,"_type":45},[17326],{"question":1766,"answer":17327},"\u003Cp>My name is Amrita Dhillon. I’m from New Delhi, and I live in Berlin.\u003C\u002Fp>\n",{"questions":17329,"_type":45},[17330],{"question":3060,"answer":17331},"\u003Cp>I paint from found images. They arrive already charged — bad light, lost people, a mood beginning to turn. I choose them before I know why.\u003C\u002Fp>\n",{"images":17333,"size":84,"_type":57},[17334],{"_id":17335,"url":17336,"alt":18,"caption":18,"credit":18,"width":16250,"height":9988},2546,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F4-6.jpg",{"questions":17338,"_type":45},[17339],{"question":17340,"answer":17341},"\u003Cp>When did you first become curious about creating\u002Fpainting?\u003C\u002Fp>\n","\u003Cp>I don’t know when it began exactly. I think I was always drawn to images that felt slightly wrong, or too knowing.\u003C\u002Fp>\n",{"images":17343,"size":84,"_type":57},[17344],{"_id":17345,"url":17346,"alt":18,"caption":18,"credit":18,"width":16250,"height":10284},2548,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F3-6.jpg",{"questions":17348,"_type":45},[17349],{"question":17350,"answer":17351},"\u003Cp>You completed your undergraduate in history before pursuing your degree in fine art, does your background in history ever influence your work?\u003C\u002Fp>\n","\u003Cp>Yes, but not in a literal way. History taught me to look for what has been left out, misremembered, or made strange by time. It made me curious about the world, and suspicious of the surface of things.\u003C\u002Fp>\n",{"images":17353,"size":84,"_type":57},[17354],{"_id":17355,"url":17356,"alt":18,"caption":18,"credit":17357,"width":533,"height":9988},2549,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F5-6.jpg","Gunter Lepkowski",{"questions":17359,"_type":45},[17360],{"question":17361,"answer":17362},"\u003Cp>Your latest exhibition In Dreams Begin Responsibilities touches on the ethics of looking, can you tell us where the title comes from and how it ties into this body of work?\u003C\u002Fp>\n","\u003Cp>The title comes from a Delmore Schwartz story that is very important to me. I liked the threat inside it: the idea that dreams are not separate from consequence. My paintings deal with the very beginning — the desire to look, and the trouble already inside it.\u003C\u002Fp>\n",{"images":17364,"size":84,"_type":57},[17365],{"_id":17366,"url":17367,"alt":18,"caption":18,"credit":17368,"width":533,"height":9988},2550,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F6-6.jpg","At Tanya Leighton Gallery, image by Gunter Lepkowski",{"questions":17370,"_type":45},[17371],{"question":17372,"answer":17373},"\u003Cp>Your work often begins with family photos, cinema, and archival Indian imagery, can you share a specific reference in one of your pieces?\u003C\u002Fp>\n","\u003Cp>I made a series of paintings based on photos of La Jana, a German dancer and actress who was dressed as an Indian woman in films like Das indische Grabmal (The Indian Tomb) from 1938. Artifice fascinates me. It is false, but it tells the truth about desire.\u003C\u002Fp>\n",{"images":17375,"size":56,"_type":57},[17376],{"_id":17377,"url":17378,"alt":18,"caption":18,"credit":17357,"width":17379,"height":9988},2551,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F7-6.jpg",351,{"questions":17381,"_type":45},[17382],{"question":17383,"answer":17384},"\u003Cp>Your work engages with how femininity has been aestheticized. How did this become something you felt necessary to question?\u003C\u002Fp>\n","\u003Cp>Because femininity is never only beautiful. It can also be rehearsed, dangerous, half-monstrous, half-alien. I’m interested in the point where it tips over.\u003C\u002Fp>\n",{"images":17386,"size":84,"_type":57},[17387],{"_id":17388,"url":17389,"alt":18,"caption":18,"credit":17357,"width":17390,"height":9988},2552,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F8-6.jpg",434,{"questions":17392,"_type":45},[17393],{"question":17394,"answer":17395},"\u003Cp>Your paintings often appear blurred, cropped, or partially obscured. What does concealment allow you to explore?\u003C\u002Fp>\n","\u003Cp>Concealment makes looking less certain. The painting pulls away from its source and becomes less familiar. I think paintings should keep secrets.\u003C\u002Fp>\n",{"images":17397,"size":84,"_type":57},[17398],{"_id":17399,"url":17400,"alt":18,"caption":18,"credit":17401,"width":12013,"height":9988},2553,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F9-6.jpg","Eyes Without Face, Passage Art, 2024",{"questions":17403,"_type":45},[17404],{"question":17405,"answer":17406},"\u003Cp>You work with materials like velvet and suede that distort the image in fascinating ways. How do you think about material as part of the narrative?\u003C\u002Fp>\n","\u003Cp>Velvet is not passive. It draws the image toward it, absorbs it, and interrupts it. I work with materials that make the painting harder to control, such as satin, suede, upholstery fabrics. I like when the image has to fight the surface a little.\u003C\u002Fp>\n",{"images":17408,"size":84,"_type":57},[17409],{"_id":17410,"url":17411,"alt":18,"caption":18,"credit":17357,"width":17412,"height":9988},2554,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F10-5.jpg",306,{"questions":17414,"_type":45},[17415],{"question":16225,"answer":17416},"\u003Cp>At the moment, music mostly. I’ve also been thinking a lot about the 90s, maybe because it was my first decade. Not nostalgia exactly — more the distance of it, and how strange it looks now.\u003C\u002Fp>\n",{"images":17418,"size":84,"_type":57},[17419],{"_id":17420,"url":17421,"alt":18,"caption":18,"credit":17422,"width":17412,"height":2769},2555,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F06\u002F11-4.jpg","Kristina Neskovic",{"questions":17424,"_type":45},[17425],{"question":638,"answer":17426},"\u003Cp>Instagram — @amritadhillon.berlin\u003C\u002Fp>\n\u003Cp>Website — amritadhillon.com\u003C\u002Fp>\n",{"_type":6,"_id":17428,"slug":17429,"name":17430,"index":17431,"date":17432,"thumbnails":17433,"description":18,"footerImage":17440,"categories":17443,"sections":17445},2692,"winona-dodds-smith","Winona Dodds-Smith",140,"2026-07-02",{"quote":17434,"main":17435,"secondary":17439,"reverse":24},"\u003Cp>“I spent the first few weeks of my final year, trying to communicate to my tutors that\u003Cbr \u002F>\n‘stackable chairs are sexy’…”\u003C\u002Fp>\n",{"image":17436,"background":21,"fit":22},{"_id":17437,"url":17438,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2693,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1.jpg",{"image":24,"background":21,"fit":22},{"_id":17441,"url":17442,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2705,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2.jpg",[17444],{"_id":33,"slug":34,"name":35},[17446,17450,17454,17462,17467,17472,17477,17482,17487,17492,17497,17502,17507,17512,17517,17522,17527,17535,17540,17545],{"questions":17447,"_type":45},[17448],{"question":1171,"answer":17449},"\u003Cp>My name is Winona Dodds-smith, and I am based in East London.\u003C\u002Fp>\n",{"questions":17451,"_type":45},[17452],{"question":3060,"answer":17453},"\u003Cp>I am an artist, interested in the anthropomorphic nature of objecthood.\u003C\u002Fp>\n",{"variant":1179,"images":17455,"_type":73},[17456,17459],{"_id":17457,"url":17458,"alt":18,"caption":18,"credit":18,"width":7594,"height":3908},2706,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3.jpg",{"_id":17460,"url":17461,"alt":18,"caption":18,"credit":18,"width":7594,"height":3908},2707,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4.jpg",{"questions":17463,"_type":45},[17464],{"question":17465,"answer":17466},"\u003Cp>How did your curiosity for creating begin?\u003C\u002Fp>\n","\u003Cp>Lots of my wider family are artists or makers in some way, so I guess I never felt it was expected of me to do anything else. I’ve sort of always flitted in between deep interests in terms of creating, ever since I was a child. I always wanted to ‘do well’, but it was made clear to me that school wasn’t really something I was good at. I think I needed to have something external that I felt was my place, where I could be ‘successful’ even at a very young age. I’ve always been very motivated in that way; I get kind of restless if I’m not making something.\u003C\u002Fp>\n",{"images":17468,"size":84,"_type":57},[17469],{"_id":17470,"url":17471,"alt":18,"caption":18,"credit":18,"width":7594,"height":3908},2708,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5.jpg",{"questions":17473,"_type":45},[17474],{"question":17475,"answer":17476},"\u003Cp>The title of your collection, Curiomantive, is a term you coined yourself. Can you tell us about what this word means for you and what it helps you say?\u003C\u002Fp>\n","\u003Cp>I use ‘Curiomantive’ as a term to describe the kind of objects I wanted to make. It means, ‘A small decorative object, intended to encourage intrigue and promote a more romantic relationship with the everyday’. I was researching the Etymology of other words important to the project and thought that creating my own adjective for the objects would further infuse them with a sense of history. I imagined the ‘Curiomantive’ section of a Museum, or new collections of ‘Curiomantives’ found by local metal detectors, undergoing an archaeological dig.\u003C\u002Fp>\n",{"images":17478,"size":56,"_type":57},[17479],{"_id":17480,"url":17481,"alt":18,"caption":18,"credit":18,"width":7594,"height":4423},2709,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6.jpg",{"questions":17483,"_type":45},[17484],{"question":17485,"answer":17486},"\u003Cp>Throughout the collection, you speak about encouraging “a more romantic relationship with the everyday” What do you think is missing?\u003C\u002Fp>\n","\u003Cp>I think that in contemporary life, where productivity and efficiency are considered paramount in all areas of life, that we lose any ability to meditate upon romance or sensuality externally to in a direct correlation with sex. But I do think that these sensibilities are deeply human and that a relationship with romance itself is of value to everyone.\u003C\u002Fp>\n\u003Cp>This is something which can really be held within objects, within the making of handcrafts and within design which considers not just function but feeling. We all know the feeling of holding something that fits perfectly in our palm or has a satisfyingly heavy weight.\u003C\u002Fp>\n\u003Cp>I spent the first few weeks of my final year, trying to communicate to my tutors that ‘stackable chairs are sexy’, that’s kind of where it all started.\u003C\u002Fp>\n\u003Cp>My collection aims to suggest that introducing more romantic objects into our lives, would improve our relationships with the everyday.\u003C\u002Fp>\n",{"images":17488,"size":84,"_type":57},[17489],{"_id":17490,"url":17491,"alt":18,"caption":18,"credit":18,"width":4972,"height":4423},2710,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7.jpg",{"questions":17493,"_type":45},[17494],{"question":17495,"answer":17496},"\u003Cp>You draw from historical objects such as powder flasks, perfume boxes, toilet box lids, baby rattles. What is it about these objects that fascinates you?\u003C\u002Fp>\n","\u003Cp>I was interested in researching historical objects of obsolescence, antique functional objects which we no longer have uses for in contemporary life. It was interesting to see elements of familiar mechanisms, hinges, clasps and caps, within a context that was totally unknowable to me. I spent some time researching these objects visually, imagining what I may do with them if they were mine, before finding out what they were actually used for.\u003C\u002Fp>\n\u003Cp>The baby rattles ended up being a surprisingly crucial reference for the project. They are really beautifully crafted objects, especially the Victorian coral rattles I was looking at. I really liked the coral as a reflection of a sort-of unknowable material, its super bright red and orange colours can make it look almost synthetic, I think the contrast of this with the antique silver is a really beautiful contrast. It was this that led me to introduce synthetic materials into my own work. I was interested in the materiality conflicting with the visual references, helping to pull the work from the past into a questioning of the present.\u003C\u002Fp>\n",{"images":17498,"size":84,"_type":57},[17499],{"_id":17500,"url":17501,"alt":18,"caption":18,"credit":18,"width":4972,"height":4423},2711,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8.jpg",{"questions":17503,"_type":45},[17504],{"question":17505,"answer":17506},"\u003Cp>You describe your objects as encouraging intrigue and asking viewers to question their purpose. In an age where almost every object is designed to communicate its purpose immediately, do you think curiosity is being lost?\u003C\u002Fp>\n","\u003Cp>Curiosity is play and I think this is the bit that we are missing in all areas of our culture, not just in design. I wonder how this lack of play must affect our pallets for knowledge. Art often relies so heavily on the exploration of a grey area, that’s the value of storytelling, that’s why we enjoy films and art and books, because they are an exploration of narrative and theme, and of something close to us. Without curiosity, I wonder if our ability to distinguish nuance, and therefor art, will be lost. We want to know without looking, or touching, or listening, but this is the bit that counts so much of the time.\u003C\u002Fp>\n",{"images":17508,"size":84,"_type":57},[17509],{"_id":17510,"url":17511,"alt":18,"caption":18,"credit":18,"width":4972,"height":4423},2712,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9.jpg",{"questions":17513,"_type":45},[17514],{"question":17515,"answer":17516},"\u003Cp>Have you ever seen someone interact with\u002Finterpret one of your pieces in a way that surprised you?\u003C\u002Fp>\n","\u003Cp>Everyone brings such different contexts to the work depending on who they are. And it’s great because I’ve been given many more objects to research and books to read, recommended by viewers of the collection.\u003C\u002Fp>\n\u003Cp>In terms of interaction, I am pleased that everyone first instinct to touch. At our degree show (where touching was not allowed) I had lots of people comment about how hard it was to not pick the objects up and hold them, I am hoping that over the next couple weeks I will be able to allow the items to be used in a less controlled environment and hopefully record some ways they are used and styled by people around me. Ultimately if the objects are purchased, this is when I really view their lives of interaction to truly start.\u003C\u002Fp>\n",{"images":17518,"size":84,"_type":57},[17519],{"_id":17520,"url":17521,"alt":18,"caption":18,"credit":18,"width":4972,"height":4423},2713,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10.jpg",{"questions":17523,"_type":45},[17524],{"question":17525,"answer":17526},"\u003Cp>What’s the last object that has sparked your interest?\u003C\u002Fp>\n","\u003Cp>I’m really into a Snuff bottle; the V&A collection has lots of glass ones from the 17th century that are really beautiful. Glass is definitely a material I would be interested in working with in the future.\u003C\u002Fp>\n",{"variant":1179,"images":17528,"_type":73},[17529,17532],{"_id":17530,"url":17531,"alt":18,"caption":18,"credit":18,"width":4447,"height":4423},2714,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11.jpg",{"_id":17533,"url":17534,"alt":18,"caption":18,"credit":18,"width":4447,"height":4423},2715,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F12.jpg",{"questions":17536,"_type":45},[17537],{"question":17538,"answer":17539},"\u003Cp>Have you thought of your inspiration for your next collection?\u003C\u002Fp>\n","\u003Cp>I think it’s going to be more about expanding and refining the work I’ve already started, as it feels like something I could see myself working on for a long time. There is definitely going to be a sort of balancing act here. I want to create some pieces that are more wearable and potentially more commercial than the work I’ve made so far. As wellas pushing the conceptual work further, exploring larger scales and new materials. I think that both of these avenues often complement each other so well, it’s important to me that I don’t lose either side.\u003C\u002Fp>\n",{"images":17541,"size":56,"_type":57},[17542],{"_id":17543,"url":17544,"alt":18,"caption":18,"credit":18,"width":4447,"height":4423},2716,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F13.jpg",{"questions":17546,"_type":45},[17547],{"question":638,"answer":17548},"\u003Cp>You can find updates about my work @___winona\u003C\u002Fp>\n",{"_type":6,"_id":17550,"slug":17551,"name":17552,"index":17553,"date":17554,"thumbnails":17555,"description":18,"footerImage":17562,"categories":17565,"sections":17567},2718,"shaheer-zazai","Shaheer Zazai",141,"2026-07-13",{"quote":17556,"main":17557,"secondary":17561,"reverse":24},"\u003Cp>“Receiving the finished carpets felt almost like sending a message home and receiving one in return…”\u003C\u002Fp>\n",{"image":17558,"background":21,"fit":139},{"_id":17559,"url":17560,"alt":18,"caption":18,"credit":18,"width":2630,"height":155},2864,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FSHAHEER.jpg",{"image":24,"background":21,"fit":22},{"_id":17563,"url":17564,"alt":18,"caption":18,"credit":18,"width":3048,"height":5816},2720,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-1.jpg",[17566],{"_id":127,"slug":146,"name":147},[17568,17572,17576,17581,17586,17591,17596,17601,17606,17611,17616,17621,17626,17631,17636,17642,17647,17652,17657,17662],{"questions":17569,"_type":45},[17570],{"question":8488,"answer":17571},"\u003Cp>My name is Shaheer Zazai, I was born in and am from Afghanistan. I am based between Toronto, Canada and Nicosia, Cyprus.\u003C\u002Fp>\n",{"questions":17573,"_type":45},[17574],{"question":14646,"answer":17575},"\u003Cp>I’m a multidisciplinary artist working across painting, digital media, textiles, sculpture, and public art. My practice explores systems, translation, identity, and the ways images are shaped by the conditions in which they are made.\u003C\u002Fp>\n",{"images":17577,"size":84,"_type":57},[17578],{"_id":17579,"url":17580,"alt":18,"caption":18,"credit":18,"width":9241,"height":3615},2737,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-1.jpg",{"questions":17582,"_type":45},[17583],{"question":17584,"answer":17585},"\u003Cp>What first led you toward visual art?\u003C\u002Fp>\n","\u003Cp>Art has been part of my life for as long as I can remember. As a child, I was constantly drawing and making things. It was the one thing that remained consistent throughout my life, and attending art school was the moment I decided to fully commit to it as a lifelong practice.\u003C\u002Fp>\n",{"images":17587,"size":84,"_type":57},[17588],{"_id":17589,"url":17590,"alt":18,"caption":18,"credit":18,"width":5456,"height":1876},2738,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-1.jpg",{"questions":17592,"_type":45},[17593],{"question":17594,"answer":17595},"\u003Cp>How does your cultural identity play into your creative language?\u003C\u002Fp>\n","\u003Cp>I don’t begin with cultural identity as the subject of my work, but it often becomes part of the conversation. I see identity as something fluid rather than fixed. I’m interested in how people are shaped by their environments, rules, limitations, and circumstances. My artworks operate in a similar way: each begins with a set of conditions, and the final image emerges through improvisation within those boundaries. In that sense, the works become reflections of how identities are formed.\u003C\u002Fp>\n",{"images":17597,"size":56,"_type":57},[17598],{"_id":17599,"url":17600,"alt":18,"caption":18,"credit":18,"width":5456,"height":838},2739,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-1.jpg",{"questions":17602,"_type":45},[17603],{"question":17604,"answer":17605},"\u003Cp>Your digital works are created using Microsoft Word, a tool not typically associated with art. What made you decide to use Word as a medium?\u003C\u002Fp>\n","\u003Cp>It began as an experiment rather than an artistic intention. I gave myself the task of typing 2,013 dots and spaces, almost as a test of endurance. I wanted to see if I would get bored or give up. Once I completed it, I started playing with colour, repetition, and placement. Patterns began to emerge, and I realized I was working within a visual language that closely resembled textile construction. From there, Microsoft Word became an unlikely but important studio tool\u003C\u002Fp>\n",{"images":17607,"size":84,"_type":57},[17608],{"_id":17609,"url":17610,"alt":18,"caption":18,"credit":18,"width":4589,"height":838},2740,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-1.jpg",{"questions":17612,"_type":45},[17613],{"question":17614,"answer":17615},"\u003Cp>These Microsoft Word pieces can then be translated these into woven textile works on a Jacquard loom. Can you describe your typical process?\u003C\u002Fp>\n","\u003Cp>My interest in Jacquard weaving comes from its historical relationship to computing. The punch-card systems used in Jacquard looms helped lay the foundation for binary logic and modern computer languages. Working in Microsoft Word led me to think about how digital systems and textile systems overlap. I build images through thousands of small decisions using characters, spacing, and colour. Those digital compositions are then translated through multiple stages—from Word document to image file to woven textile. Translation itself has become a central theme in the work.\u003C\u002Fp>\n",{"images":17617,"size":84,"_type":57},[17618],{"_id":17619,"url":17620,"alt":18,"caption":18,"credit":18,"width":5456,"height":1689},2741,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-1.jpg",{"questions":17622,"_type":45},[17623],{"question":17624,"answer":17625},"\u003Cp>What part of your practice do you find most difficult or resistant?\u003C\u002Fp>\n","\u003Cp>Time. There are always more ideas than there is time to realize them. The challenge is deciding which ideas to pursue and giving them the attention they deserve.\u003C\u002Fp>\n",{"images":17627,"size":84,"_type":57},[17628],{"_id":17629,"url":17630,"alt":18,"caption":18,"credit":18,"width":295,"height":838},2742,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-1.jpg",{"questions":17632,"_type":45},[17633],{"question":17634,"answer":17635},"\u003Cp>Your series ‘Allow Me to Sow and See the Garden I Become’ (2023) responds, in part, to how Afghanistan is often narrowly perceived through conflict. How did you arrive at gardens and flowers to open another narrative?\u003C\u002Fp>\n","\u003Cp>The series grew directly out of my earlier digital carpet works. Historically, many carpet designs are based on garden layouts—essentially aerial views of cultivated landscapes. With Allow Me to Sow and See the Garden I Become, I imagined stepping inside those gardens. The flowers became a way to think about growth, potential, and transformation. The work asks what we become based on the seeds we inherit and the conditions in which we are allowed to grow.\u003C\u002Fp>\n",{"images":17637,"size":84,"_type":57},[17638],{"_id":17639,"url":17640,"alt":18,"caption":18,"credit":18,"width":2926,"height":17641},2743,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-1.jpg",441,{"questions":17643,"_type":45},[17644],{"question":17645,"answer":17646},"\u003Cp>By translating the knots of traditional Afghan carpets into typed characters, you mimic carpet-making methods in a digital space. Does working digitally create a new way of staying connected?\u003C\u002Fp>\n","\u003Cp>Without initially intending it, the digital process became a way of maintaining a connection. Having works move through multiple layers of translation before eventually being woven into carpets felt like reaching toward a home that often seemed distant or inaccessible. Receiving the finished carpets felt almost like sending a message home and receiving one in return.\u003C\u002Fp>\n",{"images":17648,"size":84,"_type":57},[17649],{"_id":17650,"url":17651,"alt":18,"caption":18,"credit":18,"width":11429,"height":17641},2744,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-1.jpg",{"questions":17653,"_type":45},[17654],{"question":17655,"answer":17656},"\u003Cp>What do you think your practice as a whole clarified for you about how you relate to your homeland?\u003C\u002Fp>\n","\u003Cp>My digital practice fundamentally changed my relationship with Afghanistan. Earlier in my life, I often viewed my homeland through a lens of absence, conflict, and disconnection. Through making the work, that perspective gradually shifted into one of curiosity and discovery. The practice became a way of reconnecting with histories, traditions, and cultural knowledge that I had not fully appreciated before, allowing me to build a deeper and more meaningful relationship with where I come from.\u003C\u002Fp>\n",{"images":17658,"size":84,"_type":57},[17659],{"_id":17660,"url":17661,"alt":18,"caption":18,"credit":18,"width":5032,"height":15046},2745,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-1.jpg",{"questions":17663,"_type":45},[17664],{"question":638,"answer":17665},"\u003Cp>My works can be found on my website: www.shaheerzazai.com\u003Cbr \u002F>\nPeople can find me via my instagram: www.instagram.com\u002Fszazai._\u003Cbr \u002F>\nI currently have a video work as part of a group exhibition at Group Exhibition at Museum of Craft and Design in San Francisco.\u003C\u002Fp>\n\u003Cp>My most recent large scale project is a public art I just finished in Edmonton for the transit system. Some info on this can be found via my instagram.\u003C\u002Fp>\n",{"_type":6,"_id":17667,"slug":17668,"name":17669,"index":17670,"date":17671,"thumbnails":17672,"description":18,"footerImage":17679,"categories":17682,"sections":17684},2746,"jean-oltra","Jean Oltra",142,"2026-07-18",{"quote":17673,"main":17674,"secondary":17678,"reverse":24},"\u003Cp>“What fascinates me is the moment when something begins to contradict itself…”\u003C\u002Fp>\n",{"image":17675,"background":21,"fit":22},{"_id":17676,"url":17677,"alt":18,"caption":18,"credit":18,"width":11870,"height":2967},2747,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-2.jpg",{"image":24,"background":21,"fit":22},{"_id":17680,"url":17681,"alt":18,"caption":18,"credit":18,"width":11870,"height":15046},2748,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1-2.jpg",[17683],{"_id":240,"slug":2416,"name":2417},[17685,17689,17693,17701,17706,17712,17717,17725,17730,17740,17745,17750,17755,17760,17765,17770,17775,17780,17785,17790,17795,17800],{"questions":17686,"_type":45},[17687],{"question":1171,"answer":17688},"\u003Cp>My name is Jean Oltra, I am based in Paris.\u003C\u002Fp>\n",{"questions":17690,"_type":45},[17691],{"question":3060,"answer":17692},"\u003Cp>I like I explore archetypal garments and transform them into something more dramatic and glamorous. I approach silhouette construction as if I were building a character. I compare this process to a Cluedo game, not in the sense of categorising people, but in the idea of tracing someone back through clues, assembling fragments to understand a presence that is not immediately legible. To do so, I work through fabric manipulation techniques such as hand weaving, leather treatments, and a combination of tailoring and draping. I am interested in how material choices can shift perception and build narrative within a garment. I also like to develop bags and accessories, as they complete and “seal” the character I am constructing, extending the narrative beyond clothing alone.\u003C\u002Fp>\n",{"variant":1179,"images":17694,"_type":73},[17695,17698],{"_id":17696,"url":17697,"alt":18,"caption":18,"credit":18,"width":11870,"height":2967},2749,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-2.jpg",{"_id":17699,"url":17700,"alt":18,"caption":18,"credit":18,"width":11870,"height":2967},2750,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-2.jpg",{"questions":17702,"_type":45},[17703],{"question":17704,"answer":17705},"\u003Cp>You grew up surrounded by art and culture through your Spanish and Portuguese background and how those influences became part of your creative life. Looking back, what are some of your earliest memories of making or of becoming aware that you were interested in creating?\u003C\u002Fp>\n","\u003Cp>My grandma always painted and had all her material in the room we stayed at with my siblings in the summer and I guess from the earliest age we had a drawing book in our hand to have us do something. I specifically remember me and my brother had a spiderman drawing book each where we would draw our legos going to war at eachother on huge battlefields. I think at that point my dream job was ‘toy inventor’ and to own a shop selling those toys.\u003C\u002Fp>\n",{"images":17707,"size":84,"_type":57},[17708],{"_id":17709,"url":17710,"alt":18,"caption":18,"credit":18,"width":11870,"height":17711},2751,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-2.jpg",492,{"questions":17713,"_type":45},[17714],{"question":17715,"answer":17716},"\u003Cp>You had chosen to carry your mother’s surname, a deeply personal and emblematic decision. Beyond family, what does this name represent to you today, both as a person and as a designer?\u003C\u002Fp>\n","\u003Cp>I think choosing my mother’s surname was a way of embracing a part of my identity that felt deeply meaningful to me. It reflects not only my family history but also the values I grew up with: creativity, sensitivity, and a strong appreciation for making things by hand. It felt like the most authentic way to introduce myself, both personally and professionally. My designs are often rooted in personal memories, atmospheres, and cultural references, drawing from my heritage while looking beyond it.\u003C\u002Fp>\n",{"variant":176,"images":17718,"_type":73},[17719,17722],{"_id":17720,"url":17721,"alt":18,"caption":18,"credit":18,"width":5235,"height":2144},2752,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-2.jpg",{"_id":17723,"url":17724,"alt":18,"caption":18,"credit":18,"width":5235,"height":2144},2753,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-2.jpg",{"questions":17726,"_type":45},[17727],{"question":17728,"answer":17729},"\u003Cp>You often speak about atmosphere and memory rather than trends or garments. Have you always been sensitive to environments and emotions, or is this something you recognized about yourself through fashion?\u003C\u002Fp>\n","\u003Cp>I think I’ve always been sensitive to environments, even before I realised it through fashion. I feel most creative when I’m moving through a space, picking up visual and emotional cues. Whether I’m walking down a street, dancing at a party, or visiting a museum, I instinctively imagine how people might feel, interact, or move within that environment, even when the space is empty. I’m fascinated by the atmosphere a place carries and the stories it suggests. It’s almost like world-building: I project myself into these imagined situations and pay attention to my own emotions and state of mind. In a way, it’s a form of daydreaming, but it’s also how I begin to understand what I want to express. Fashion became the medium through which I could translate these imagined worlds into something tangible, so I don’t think this sensitivity came from fashion, it simply found its language through it.\u003C\u002Fp>\n",{"first":17731,"second":17734,"third":17737,"variant":94,"_type":206},{"_id":17732,"url":17733,"alt":18,"caption":18,"credit":18,"width":5235,"height":2144},2754,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-2.jpg",{"_id":17735,"url":17736,"alt":18,"caption":18,"credit":18,"width":5235,"height":2144},2755,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-2.jpg",{"_id":17738,"url":17739,"alt":18,"caption":18,"credit":18,"width":5235,"height":2144},2756,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-2.jpg",{"questions":17741,"_type":45},[17742],{"question":17743,"answer":17744},"\u003Cp>Cinema and installation art are central to your research; you’re drawn to carefully constructed universes where every detail builds its own atmosphere. What is it about these that pulls you in, and which ones have marked you most?\u003C\u002Fp>\n","\u003Cp>I think what draws me in most is the level of intention behind these worlds. I have a huge appreciation for work that feels effortless, even though every detail has been carefully considered. The best films and installations create an atmosphere so coherent that you stop noticing the individual elements and simply experience the world they’ve built. I find that incredibly inspiring. One installation that has stayed with me is Stone Speakers by Julian Charrière, which I saw at the Palais de Tokyo. It transformed geological depths into something almost alive through sound, light, and space. Rather than simply presenting an idea, it made me physically experience it. I left feeling as though I had briefly entered another reality, and that’s something I constantly search for in my own work. I want my garments to evoke a similar feeling—to immerse people in an atmosphere rather than simply be looked at.\u003C\u002Fp>\n",{"images":17746,"size":56,"_type":57},[17747],{"_id":17748,"url":17749,"alt":18,"caption":18,"credit":18,"width":5081,"height":2144},2757,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-2.jpg",{"questions":17751,"_type":45},[17752],{"question":17753,"answer":17754},"\u003Cp>Your graduate collection is rooted in David Lynch’s Blue Velvet and its two central figures: Jeffrey Beaumont, the well-behaved college boy, and Dorothy Vallens, caught in a troubled nocturnal world. What drew you to this film and why did it feel right for this moment?\u003C\u002Fp>\n","\u003Cp>I first saw *Blue Velvet* about two years ago during a retrospective in the Quartier Latin organised as a tribute to David Lynch after his passing. I went with some friends without knowing anything about the film, and I think that made the experience even more impactful. I wasn’t watching it with the intention of finding inspiration, it came much later. At the beginning of my graduate collection, I was interested in the idea of the Western nuclear family and how it has shaped our perception of the “ideal” way to live, behave, and even dress, largely through decades of American cultural influence. It was a subject I found fascinating, but also incredibly difficult to translate into garments. Looking back at Blue Velvet, I realised it captured exactly that tension. On the surface, it presents the image of the perfect suburban America, but beneath it lies something much darker, stranger, and deeply unsettling. Jeffrey Beaumont’s curiosity gradually draws him into Dorothy Vallens’ world, revealing the fragility of this idealized reality. I was fascinated by that contrast between innocence and transgression, order and desire. It became the perfect narrative through which I could explore these ideas visually, using clothing to suggest the collision of two worlds rather than simply illustrating the film itself.\u003C\u002Fp>\n",{"images":17756,"size":139,"_type":57},[17757],{"_id":17758,"url":17759,"alt":18,"caption":18,"credit":18,"width":5081,"height":11327},2758,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F12-1.jpg",{"questions":17761,"_type":45},[17762],{"question":17763,"answer":17764},"\u003Cp>Rather than presenting these two worlds as opposites, the collection explores how they gradually collapse into one another. What is it about duality, where boundaries of opposition dissolve into one, that fascinates you?\u003C\u002Fp>\n","\u003Cp>I don’t think people, places, or even clothes are ever completely one thing. What fascinates me is the moment when something begins to contradict itself. A familiar place suddenly feels unsettling, a gesture that seems reassuring becomes ambiguous, or a garment carries two identities at once.I think that’s why I’m drawn to stories like Blue Velvet. The film doesn’t simply oppose innocence and darkness, it shows how one exists because of the other. The boundary between them gradually disappears, making both worlds feel more believable.\u003Cbr \u002F>\nIn my work, I’m interested in creating that same sense of ambiguity. I don’t want garments to communicate a single, fixed idea. I like when they hold different readings at the same time, when they feel suspended between protection and exposure, elegance and unease, familiarity and estrangement. That tension is where I find the most interesting emotions.\u003C\u002Fp>\n",{"images":17766,"size":84,"_type":57},[17767],{"_id":17768,"url":17769,"alt":18,"caption":18,"credit":18,"width":5081,"height":350},2759,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F13-1.jpg",{"questions":17771,"_type":45},[17772],{"question":17773,"answer":17774},"\u003Cp>Your collection text says “desire and fear become indistinguishable.” Can you describe a moment in your own life when you couldn’t tell them apart?\u003C\u002Fp>\n","\u003Cp>I think one moment I can relate to that feeling is something very simple: when you catch someone’s gaze and it lasts a little too long. In that instant, you are never fully sure of what is happening. There is attraction, but also uncertainty, self-awareness, and a slight sense of exposure. What I find interesting is that the feeling is not clearly readable in the moment. You cannot separate what comes from desire and what comes from hesitation or fear of being perceived. It creates a kind of internal confusion where everything is heightened, but nothing is fully defined. I think that’s what I was referring to in the collection text: those moments where emotions are so immediate and physical that they stop being categorised. They exist as a single sensation rather than opposing forces.\u003C\u002Fp>\n",{"images":17776,"size":84,"_type":57},[17777],{"_id":17778,"url":17779,"alt":18,"caption":18,"credit":18,"width":5081,"height":350},2760,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F14.jpg",{"questions":17781,"_type":45},[17782],{"question":17783,"answer":17784},"\u003Cp>You’ve worked in embroidery at Maison Margiela and on collection development at De Pino. What did those experiences teach you about craftsmanship and building a vision?\u003C\u002Fp>\n","\u003Cp>It taught me a great deal, both technically and personally. First of all, I received a lot of support from my peers and mentors, which I am deeply grateful for. It gave me confidence in my abilities and a sense of legitimacy in what I am doing, not that one needs to start designing but still, it felt reassuring. Beyond that, these experiences taught me the importance of precision, patience, and collaboration in the making of a collection. At Maison Margiela, working in embroidery allowed me to understand craftsmanship at a very detailed and intimate level, where every gesture matters. At De Pino, I was able to engage more broadly with the development of a collection, from concept to execution, and understand how a creative vision is constructed collectively across different stages. Together, these experiences helped me connect my academic work to the reality of the industry.\u003C\u002Fp>\n",{"images":17786,"size":84,"_type":57},[17787],{"_id":17788,"url":17789,"alt":18,"caption":18,"credit":18,"width":5081,"height":350},2761,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F15.jpg",{"questions":17791,"_type":45},[17792],{"question":17793,"answer":17794},"\u003Cp>You recently won a Louis Vuitton competition, which leads to an internship at the menswear studio this September. What are you hoping to learn or explore in this next chapter?\u003C\u002Fp>\n","\u003Cp>The scale of resources and savoir-faire at Louis Vuitton is something I am aware of, and I see this internship as a unique opportunity to learn within an environment where everything from materials to execution can be pushed to a very high level. More than anything, I am excited to observe and understand how a collection is developed within such a structured and demanding studio, and how ideas evolve through collaboration with highly experienced teams. I hope to work on my own design practice by being exposed to that level of precision, and by learning how creative vision is translated into finished garments at this scale. I am also very excited to join the team itself. From what I have seen and heard, it feels like an inspiring and generous environment, and I am looking forward growing within it.\u003C\u002Fp>\n",{"images":17796,"size":84,"_type":57},[17797],{"_id":17798,"url":17799,"alt":18,"caption":18,"credit":18,"width":2606,"height":350},2762,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F16.jpg",{"questions":17801,"_type":45},[17802],{"question":638,"answer":17803},"\u003Cp>People can find me and my work mainly on Instagram, on my account @jeanoltra, where I share my projects and creative explorations.I also like to collaborate with stylists and photographers, most recently on the shoot for Theodora’s latest music video. At the moment, I do not have a physical space or exhibition to present my work, but I am very open to future collaborations and opportunities in that direction.\u003C\u002Fp>\n",{"_type":6,"_id":17805,"slug":17806,"name":17807,"index":10924,"date":17808,"thumbnails":17809,"description":18,"footerImage":17816,"categories":17819,"sections":17821},2764,"yiji-jeong","Yiji Jeong","2026-07-26",{"quote":17810,"main":17811,"secondary":17815,"reverse":24},"\u003Cp>“If I had to describe attachment, I would say that it feels warm and slightly damp…”\u003C\u002Fp>\n",{"image":17812,"background":21,"fit":22},{"_id":17813,"url":17814,"alt":18,"caption":18,"credit":18,"width":329,"height":155},2863,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FOLO.jpg",{"image":24,"background":21,"fit":22},{"_id":17817,"url":17818,"alt":18,"caption":18,"credit":18,"width":10797,"height":350},2766,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-3.jpg",[17820],{"_id":127,"slug":146,"name":147},[17822,17827,17831,17839,17844,17850,17855,17864,17869,17874,17879,17884,17889,17894,17899,17904,17909,17914,17919,17924,17929,17934],{"questions":17823,"_type":45},[17824],{"question":17825,"answer":17826},"\u003Cp>What’s your name and where are you based?\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>\n","\u003Cp>Hi, my name is Yiji Jeong, and I’m a painter based in Seoul, South Korea.\u003C\u002Fp>\n",{"questions":17828,"_type":45},[17829],{"question":3060,"answer":17830},"\u003Cp>My work revolves around ‘attachment’. Through painting, I explore love, familiarity, longing, persistence, and beauty. I’m interested in portraying contemporary life at the point where painterly gestures, familiar emotions, and today’s visual culture intersect.\u003C\u002Fp>\n",{"variant":176,"images":17832,"_type":73},[17833,17836],{"_id":17834,"url":17835,"alt":18,"caption":18,"credit":18,"width":10797,"height":350},2765,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1-3.jpg",{"_id":17837,"url":17838,"alt":18,"caption":18,"credit":18,"width":610,"height":808},2794,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F14-1.jpg",{"questions":17840,"_type":45},[17841],{"question":17842,"answer":17843},"\u003Cp>How did your curiosity for painting begin?\u003C\u002Fp>\n","\u003Cp>I’ve loved drawing for as long as I can remember—probably since before kindergarten. I loved that I could draw my favourite characters or my family whenever I wanted with just a few simple lines.\u003C\u002Fp>\n\u003Cp>My fascination with painting began more seriously when I visited an exhibition of American Impressionists in my early teens. Many of the works carried a strong sense of everyday life—a kind of quiet realism. That was when I first encountered Mary Cassatt and Charles Courtney Curran.\u003C\u002Fp>\n\u003Cp>One painting, which I believe was by Mary Cassatt though I can no longer remember its title, has stayed with me ever since. It depicted a girl around my age with pigtails, sitting at a desk studying. I was struck by how such an ordinary moment could hang on the walls of a museum. Even more surprising was the feeling that, simply by looking at the painting, I could feel connected to the girl who had lived about a century earlier—someone from a different place, a different culture, whose face and name I would never know. She somehow felt like a friend.\u003C\u002Fp>\n\u003Cp>Standing in front of that still, silent painting, I experienced something similar to what I felt while watching animation—a sense of movement, narrative, and even music. I was amazed that brushstrokes alone could evoke such layered emotions. At that moment, becoming a painter seemed like one of the most wonderful things imaginable.\u003C\u002Fp>\n\u003Cp>For various reasons, I drifted away from oil painting for several years. It wasn’t until my third year of university, when I took my first oil painting class, that I finally had the chance to work with oils. Even now, nearly ten years later, I remember that day vividly. I became so absorbed in painting that I didn’t leave my seat until the work was finished. When I finally stood up, my face was flushed and burning, as though I had just finished swimming at full speed. I didn’t yet know what I wanted to paint or why, but I knew I wanted to spend my life painting.\u003C\u002Fp>\n",{"images":17845,"size":84,"_type":57},[17846],{"_id":17847,"url":17848,"alt":18,"caption":18,"credit":18,"width":17849,"height":355},2768,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-3.jpg",760,{"questions":17851,"_type":45},[17852],{"question":17853,"answer":17854},"\u003Cp>Your paintings focus on the people close to you. When did you realise that your own daily life and the people in it would become the subject of your work?\u003C\u002Fp>\n","\u003Cp>It’s difficult to point to a single moment.\u003C\u002Fp>\n\u003Cp>One possibility goes back to high school, when I received a small, thick sketchbook as a gift. From then on, I constantly drew the people and objects around me from observation. I wanted to improve my drawing by sketching things that moved me or that I simply enjoyed looking at, so naturally my attention stayed close to my own surroundings. Over time, those drawings on paper gradually became paintings on canvas.\u003C\u002Fp>\n\u003Cp>Another possibility is that I often felt a certain loneliness in museums and galleries. Whenever I encountered artworks that were technically accomplished but somehow lacked a human presence, I found myself asking what mattered most. I eventually realised that what moved me most was work that stayed close to life itself—to those quiet moments that are so beautiful and precious they can bring both laughter and tears.\u003C\u002Fp>\n",{"variant":1179,"images":17856,"_type":73},[17857,17861],{"_id":17858,"url":17859,"alt":18,"caption":18,"credit":18,"width":17860,"height":355},2769,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-3.jpg",359,{"_id":17862,"url":17863,"alt":18,"caption":18,"credit":18,"width":17860,"height":355},2770,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-3.jpg",{"questions":17865,"_type":45},[17866],{"question":17867,"answer":17868},"\u003Cp>You name attachment as a central facet to your practice. Can you tell us about what attachment means to you and how your work explores it?\u003C\u002Fp>\n","\u003Cp>To be honest, I only arrived at the word ‘attachment’ fairly recently. Before that, I described my work using words like intimacy, private relationships, connection, identification, fleeting moments I wanted to hold onto, or the familiar qualities of everyday life.\u003C\u002Fp>\n\u003Cp>I’ve never been the kind of artist who decides on a concept first and then makes paintings to illustrate it. Instead, I tend to follow intuition and impulse, making the work first and only later trying to understand what it reveals about my desires and methods. So this question is surprisingly difficult to answer.\u003C\u002Fp>\n\u003Cp>If I had to describe attachment, I would say that it feels warm and slightly damp. The things that bring us the greatest happiness are also the things whose loss would hurt us most. Attachment contains those two opposing emotions at once.\u003C\u002Fp>\n\u003Cp>I also don’t think attachment forms because something is objectively extraordinary or unique. Rather, it grows through chance, subjectivity, long periods of closeness, and reasons that often resist explanation. Its object may be a person, a place, an object, a particular period of life, or even life itself. At its core, attachment is the desire to keep something close for as long as possible.\u003C\u002Fp>\n\u003Cp>In my paintings, attachment sometimes appears as an atmosphere that quietly permeates the image. At other times, it is reflected in the way light, fluid brushstrokes interlock across the surface, or in the persistent attention I give to scale and proportion.\u003C\u002Fp>\n",{"images":17870,"size":84,"_type":57},[17871],{"_id":17872,"url":17873,"alt":18,"caption":18,"credit":18,"width":2829,"height":355},2771,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-3.jpg",{"questions":17875,"_type":45},[17876],{"question":17877,"answer":17878},"\u003Cp>Your style seems almost cinematic or comic, what kinds of references do you think inspired your style and how do you adapt these to your paintings?\u003C\u002Fp>\n","\u003Cp>I think I’ve been deeply influenced by Sunjeong Manhwa(girls’ coming-of-age comics) and romance films. Growing up, the stories I loved usually followed an ordinary schoolgirl as she navigated love or friendship and gradually came of age. Their plots were often similar, yet each possessed something uniquely its own. Every time I revisited them, they moved me in different ways. In that sense, they reminded me of life itself.\u003C\u002Fp>\n\u003Cp>Rather than consciously studying visual references and applying them to my paintings, I think I’ve simply absorbed the language of those works over time. Watching the same films and reading the same comics again and again taught me countless ways of expressing subtle emotions, and I believe those visual rhythms have naturally found their way into my paintings.\u003C\u002Fp>\n\u003Cp>That said, there are moments when the process becomes more deliberate. If I come across a scene that I find particularly beautiful, I’ll sometimes make a study of it directly, or experiment with its composition while taking photographs for future paintings.\u003C\u002Fp>\n\u003Cp>If I had to name one work in particular, it would be Nanae Haruno’s comic 『Papa Told Me』. Its restrained, delicate drawing style and quietly understated sense of staging have stayed with me for years and have deeply influenced both my sensibility and the way I paint.\u003C\u002Fp>\n",{"images":17880,"size":84,"_type":57},[17881],{"_id":17882,"url":17883,"alt":18,"caption":18,"credit":18,"width":10797,"height":2608},2772,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-3.jpg",{"questions":17885,"_type":45},[17886],{"question":17887,"answer":17888},"\u003Cp>Do the people in your paintings recognise themselves the way you’ve seen them? Has anyone ever been surprised by their own portrait?\u003C\u002Fp>\n","\u003Cp>Only a handful of people appear in my paintings, and because I paint them repeatedly, they always recognise themselves. Most of them seem to enjoy becoming part of my work.\u003C\u002Fp>\n\u003Cp>There was only one exception. Someone I barely knew reacted negatively to her portrait. Looking back, I realised that my emotional distance from that person had found its way into the painting. It became hurtful for both of us.\u003C\u002Fp>\n\u003Cp>If my paintings have any value, I hope it is that they remind the people within them that they are seen with affection and attention—whether they are experiencing loneliness and pain or moments of carefree happiness. These days, I only paint people I genuinely care about.\u003C\u002Fp>\n",{"images":17890,"size":84,"_type":57},[17891],{"_id":17892,"url":17893,"alt":18,"caption":18,"credit":18,"width":2829,"height":355},2773,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-3.jpg",{"questions":17895,"_type":45},[17896],{"question":17897,"answer":17898},"\u003Cp>Many of your paintings zoom in on a single detail rather than showing the whole scene. What draws you to focusing on a close up?\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>\n","\u003Cp>When we move physically closer to something, our vision becomes distorted. But with a zoom lens, we can observe a subject both accurately and intimately at the same time. Every close-up in my paintings is made in that way. I think this dual sense of distance is also connected to what we’ll discuss in the next question—the idea of feeling nostalgic for the present.\u003C\u002Fp>\n\u003Cp>It also reflects something about my own temperament. I have a simple, almost obsessive desire to exclude everything from the picture except what I truly want to see and paint.\u003C\u002Fp>\n\u003Cp>In cinema, the close-up directs our attention toward a particular subject, capturing the smallest shifts in emotion and allowing us to experience a scene almost through the eyes of the film director—or the actor. I feel that close-ups function in much the same way in my paintings.\u003C\u002Fp>\n\u003Cp>I’ve also always loved the stories surrounding the silent film actress Lillian Gish, who is so often associated with the expressive possibilities of the cinematic close-up.\u003C\u002Fp>\n",{"images":17900,"size":84,"_type":57},[17901],{"_id":17902,"url":17903,"alt":18,"caption":18,"credit":18,"width":2829,"height":355},2774,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-3.jpg",{"questions":17905,"_type":45},[17906],{"question":17907,"answer":17908},"\u003Cp>My Salad Days took its title from Shakespeare when Cleopatra dismissed her younger self being “green in judgment. Reflecting on your green days as your younger self in this series, you weren’t looking back at your salad days; you were painting them as they happened. What does it mean to feel nostalgia for the present?\u003C\u002Fp>\n","\u003Cp>I think it’s simply part of who I am. I’ve been this way for as long as I can remember.\u003C\u002Fp>\n\u003Cp>One of my earliest memories comes from kindergarten. My family was driving home after a trip at dusk, and my younger brother had fallen asleep across my lap. We didn’t usually get along very well, but at that moment he looked impossibly soft and beautiful. Then it suddenly occurred to me that this lovely little child would one day become one of those stiff, hairy old men I found so dreadful as a child. The thought made me unbearably sad. I didn’t know what to do except try to preserve that moment in my memory forever.\u003C\u002Fp>\n\u003Cp>I have countless memories like that.\u003C\u002Fp>\n\u003Cp>Since becoming a painter, though, I’ve found it much easier to embrace life. Painting allows me to release the immense attachment I feel toward the world instead of carrying it all inside myself.\u003C\u002Fp>\n\u003Cp>At the moment, I’m painting the tenderness I feel toward youth while I’m still living it. I imagine that, one day, I’ll feel the same tenderness toward middle age—and, if I’m lucky enough, toward old age as well.\u003C\u002Fp>\n",{"images":17910,"size":84,"_type":57},[17911],{"_id":17912,"url":17913,"alt":18,"caption":18,"credit":18,"width":5255,"height":9838},2775,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-3.jpg",{"questions":17915,"_type":45},[17916],{"question":17917,"answer":17918},"\u003Cp>Since My Salad Days, you have returned with two solo exhibitions, Too Sunny and Shelves. What changed in the work since then?\u003C\u002Fp>\n","\u003Cp>After 《My Salad Days》, I went through a long period of uncertainty.\u003C\u002Fp>\n\u003Cp>At the time, I thought my paintings could become a truthful documentary of my life. But I eventually realised that painting could never contain every part of living—especially its most dramatic or decisive moments. There was a growing gap between the way I described my work and what the paintings themselves were actually doing.\u003C\u002Fp>\n\u003Cp>So I decided to stop drawing conclusions about my practice too quickly. Instead, I simply painted whatever scenes I genuinely wanted to paint. At the same time, I began experimenting with the physical aspects of painting—its surfaces, brushwork, layering, and materials—in search of a way of working that felt truly natural in my hands.\u003C\u002Fp>\n\u003Cp>After 《Shelves》, which faithfully recreated the bookstore where I once worked and found so much inspiration, and 《Too Sunny》, which focused on the everyday moments illuminated by the sun, I realised that every painting I’d ever made shared something in common. They were all made out of deep affection for something that had completely occupied my heart at the time.\u003C\u002Fp>\n\u003Cp>Going forward, I’d like to continue painting from snapshots, while also returning to some of the films and television dramas that have long inspired me—perhaps by painting scenes from them directly, or by making oil paintings from life.\u003C\u002Fp>\n",{"images":17920,"size":84,"_type":57},[17921],{"_id":17922,"url":17923,"alt":18,"caption":18,"credit":18,"width":3736,"height":9838},2776,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F12-2.jpg",{"questions":17925,"_type":45},[17926],{"question":17927,"answer":17928},"\u003Cp>Outside of painting, what fuels your creativity?\u003C\u002Fp>\n","\u003Cp>Interior decorating.\u003C\u002Fp>\n\u003Cp>I love taking my time choosing beautiful objects and rearranging them as my life changes. There’s something deeply satisfying about shaping my living space around my own needs and sensibilities.\u003C\u002Fp>\n\u003Cp>Learning what kinds of arrangements and combinations make me feel calm has, in a broader sense, influenced the way I compose my paintings as well.\u003C\u002Fp>\n",{"images":17930,"size":84,"_type":57},[17931],{"_id":17932,"url":17933,"alt":18,"caption":18,"credit":18,"width":2442,"height":9838},2777,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F13-2.jpg",{"questions":17935,"_type":45},[17936],{"question":638,"answer":17937},"\u003Cp>I always share news about upcoming exhibitions on Instagram, where I also archive many of my paintings.\u003C\u002Fp>\n\u003Cp>I’d love to build a website in the near future.\u003C\u002Fp>\n\u003Cp>My studio is in Seoul. It’s a little modest, but it’s easy to get to. I’m always happy to have thoughtful conversations or explore interesting collaborations, so if you ever find yourself in Korea, you’re very welcome to stop by.\u003C\u002Fp>\n\u003Cp>Later this year, I’ll be participating in a two-person exhibition at A-Lounge Gallery and a group exhibition at Mo By Can.\u003C\u002Fp>\n",{"_type":6,"_id":17939,"slug":17940,"name":17941,"index":10927,"date":17942,"thumbnails":17943,"description":18,"footerImage":17950,"categories":17953,"sections":17955},2779,"alvaro-mars","Alvaro Mars","2026-08-02",{"quote":17944,"main":17945,"secondary":17949,"reverse":24},"\u003Cp>“I can see being playful as the main element of my practice, beauty from the unexpected\u003Cbr \u002F>\nis something that I geek out for…”\u003C\u002Fp>\n",{"image":17946,"background":21,"fit":139},{"_id":17947,"url":17948,"alt":18,"caption":18,"credit":18,"width":610,"height":808},2793,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FCover.jpg",{"image":24,"background":21,"fit":22},{"_id":17951,"url":17952,"alt":18,"caption":18,"credit":18,"width":9838,"height":9838},2781,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1-4.jpg",[17954],{"_id":240,"slug":2416,"name":2417},[17956,17960,17964,17969,17974,17979,17984,17990,17995,18001,18006,18011,18016,18021,18026,18031,18036,18046],{"questions":17957,"_type":45},[17958],{"question":1319,"answer":17959},"\u003Cp>Alvaro Mars. Born in Spain and currently based in Rome after many years living in London.\u003C\u002Fp>\n",{"questions":17961,"_type":45},[17962],{"question":3060,"answer":17963},"\u003Cp>Visual delulu that happens to use the body as a canvas. Volume and colour as starting point to create fashion objects that are meant to tell a story and evoke somekind of emotion. Couture techniques out of context.\u003C\u002Fp>\n",{"images":17965,"size":84,"_type":57},[17966],{"_id":17967,"url":17968,"alt":18,"caption":18,"credit":18,"width":5510,"height":5510},2782,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-4.jpg",{"questions":17970,"_type":45},[17971],{"question":17972,"answer":17973},"\u003Cp>You describe yourself as having been sensitive to aesthetic stimuli from a very early age. Can you remember early moments that fascinated you as a child?\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>\n","\u003Cp>I guess that my early interaction with the arts was facing directly the blank paper with some oil pigments, my parents were quite quick at understanding my creative needs. The women influence by that time was probably one of my biggest fascinations, like my mum getting ready for a night out or my grandma doing her hair. Cinema and theatre were also a big part of discovering my own universe, I understood that the world was way more exciting than I thought.\u003C\u002Fp>\n",{"images":17975,"size":84,"_type":57},[17976],{"_id":17977,"url":17978,"alt":18,"caption":18,"credit":18,"width":5510,"height":1661},2783,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-4.jpg",{"questions":17980,"_type":45},[17981],{"question":17982,"answer":17983},"\u003Cp>Your fashion drawings as a child were already full of symbols and references, before you knew what fashion or designing was. Do any of these symbols still exist in your work today?\u003C\u002Fp>\n","\u003Cp>Definitely, it is actually something that I try to protect. For a big part of my process, I don’t have any idea of what I’m doing; however, It just comes to me naturally at some point. I have my own way of understanting proportions and colour, and it is something that I had since I was a kid; I don’t think I could create without this way of seeing and interacting with anatomy.\u003C\u002Fp>\n",{"images":17985,"size":84,"_type":57},[17986],{"_id":17987,"url":17988,"alt":18,"caption":18,"credit":18,"width":5510,"height":17989},2784,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-4.jpg",454,{"questions":17991,"_type":45},[17992],{"question":17993,"answer":17994},"\u003Cp>What do you think is central to your process that you want to translate into your collections?\u003C\u002Fp>\n","\u003Cp>I can see being playful as the main element of my practice, beauty from the unexpected is something that I geek out for. I do believe in the power of dressing up; in my mind there’s always this idea of the actor getting ready before the performance, that magical moment that makes you feel like you can be whoever you want to be, a moment of freedom. This kind of feeling is what I want to translate into the tangible. As for the process itself, I would say it goes from a maximalist stage where the structures are born to a more refined result where I try to balance visually all the chaos.\u003C\u002Fp>\n",{"images":17996,"size":84,"_type":57},[17997],{"_id":17998,"url":17999,"alt":18,"caption":18,"credit":18,"width":2103,"height":18000},2785,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-4.jpg",490,{"questions":18002,"_type":45},[18003],{"question":18004,"answer":18005},"\u003Cp>Your references are sensory and specific, for example the color red, the smell of salt, a fan moving, your grandmother spraying hairspray. Is there a common thread between the things you find yourself being drawn to?\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>\n","\u003Cp>I feed on what I have seen, what I have absorbed. I love authenticy and grace, I am very drawn to those little cinematic moments that provoke emotions. I guess it has to do with personal experience and romatisicing my own roots, I would be lying if I told you that the Spanish “lore” doesn’t fascinate me.\u003C\u002Fp>\n",{"images":18007,"size":84,"_type":57},[18008],{"_id":18009,"url":18010,"alt":18,"caption":18,"credit":18,"width":701,"height":18000},2786,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-4.jpg",{"questions":18012,"_type":45},[18013],{"question":18014,"answer":18015},"\u003Cp>What do you think is one of your biggest challenges in the industry?\u003C\u002Fp>\n","\u003Cp>In general, I can’t complain; I’ve been lucky enough to experience moments that I hope to remember always. It’s true that many times, because of your youth, you’re not taken seriously, but I would tell you that my biggest challenge has been understanding myself and knowing how to live with uncertainty.\u003C\u002Fp>\n",{"images":18017,"size":84,"_type":57},[18018],{"_id":18019,"url":18020,"alt":18,"caption":18,"credit":18,"width":5863,"height":18000},2787,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-4.jpg",{"questions":18022,"_type":45},[18023],{"question":18024,"answer":18025},"\u003Cp>Is there a specific detail, piece or collection that you’ve worked on that feels especially personal to you?\u003C\u002Fp>\n","\u003Cp>In general, everything is kind of personal. I want my work to talk about me, not literally, but contextually. If I have to point out something maybe I can think about everytime I make my grandma part of my practice, that feels quite special.\u003C\u002Fp>\n",{"images":18027,"size":84,"_type":57},[18028],{"_id":18029,"url":18030,"alt":18,"caption":18,"credit":18,"width":5863,"height":5863},2788,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-4.jpg",{"questions":18032,"_type":45},[18033],{"question":18034,"answer":18035},"\u003Cp>What’s inspiring you right now, in or outside of fashion?\u003C\u002Fp>\n","\u003Cp>So besides my usual inspirational sources (literature, cinema, vintage, homoerotic photography), lately I’ve been really into objects in general, objects that I find at flea markets or are around me. I feel like as the time goes by, my inspiration gets more abstratct and random.\u003C\u002Fp>\n",{"first":18037,"second":18040,"third":18043,"variant":94,"_type":206},{"_id":18038,"url":18039,"alt":18,"caption":18,"credit":18,"width":10098,"height":5863},2789,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-4.jpg",{"_id":18041,"url":18042,"alt":18,"caption":18,"credit":18,"width":10098,"height":5863},2790,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-4.jpg",{"_id":18044,"url":18045,"alt":18,"caption":18,"credit":18,"width":10098,"height":5863},2791,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F12-3.jpg",{"questions":18047,"_type":45},[18048],{"question":638,"answer":18049},"\u003Cp>For sure on my instagram @alvaromarsinfo and webpage \u003Ca href=\"http:\u002F\u002Fwww.alvaromars.eu\">www.alvaromars.eu\u003C\u002Fa> . I’m figuring out some stuff at the moment so stay tuned.\u003C\u002Fp>\n",{"_type":6,"_id":18051,"slug":18052,"name":18053,"index":10919,"date":18054,"thumbnails":18055,"description":18,"footerImage":18062,"categories":18065,"sections":18067},2866,"iyuh-studios","Iyuh Studios","2026-08-07",{"quote":18056,"main":18057,"secondary":18061,"reverse":24},"\u003Cp>“Minority communities have always used craft to document themselves, preserve their identities, and ensure they are not forgotten. For me, craft has always been a form of resistance…”\u003C\u002Fp>\n",{"image":18058,"background":21,"fit":56},{"_id":18059,"url":18060,"alt":18,"caption":18,"credit":18,"width":886,"height":16250},2868,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-5.jpg",{"image":24,"background":21,"fit":22},{"_id":18063,"url":18064,"alt":18,"caption":18,"credit":18,"width":886,"height":155},2867,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1-5.jpg",[18066],{"_id":33,"slug":34,"name":35},[18068,18072,18076,18081,18086,18094,18099,18104,18109,18117,18122,18127,18132,18137,18142,18147,18152,18157],{"questions":18069,"_type":45},[18070],{"question":1319,"answer":18071},"\u003Cp>My name is Aya Al-Shalal. I’m an Iraqi-Canadian jewellery designer currently based in London, UK.\u003C\u002Fp>\n",{"questions":18073,"_type":45},[18074],{"question":3060,"answer":18075},"\u003Cp>Research-led Contemporary jewellery exploring endangered Iraqi and Bedouin craft through sculptural design, bridging cultural heritage and alternative subcultures and fashion.\u003C\u002Fp>\n",{"images":18077,"size":84,"_type":57},[18078],{"_id":18079,"url":18080,"alt":18,"caption":18,"credit":18,"width":886,"height":16250},2870,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-5.jpg",{"questions":18082,"_type":45},[18083],{"question":18084,"answer":18085},"\u003Cp>Your work comes out of a family history of collecting and preserving tribal and Bedouin crafts, jewellery, silversmithing, textiles from Iraq and the wider SWANA region. Can you tell us more about that history?\u003C\u002Fp>\n","\u003Cp>My family actually has a long history in textiles. We were involved in textile production and had a factory that my late grandfather founded. Alongside being an influential entrepreneur, he was an incredibly passionate collector of art, including West Asian rugs, silver, and traditional crafts, and continually invested in them.\u003Cbr \u002F>\nFollowing the events in Iraq in 2003 and the closure of our family business, my father and uncles decided to make the curation and preservation of these crafts their full-time career. Today, they are based in Jordan and curate collections between Amman and Baghdad, dedicating themselves to researching, preserving, and adding value to the narratives of their makers while strengthening and safeguarding our cultural heritage.\u003Cbr \u002F>\nFor them, the work has never been just about preserving objects; it has always been about honouring the stories of their makers and the communities they come from. This includes an extensive knowledge of particular tribes and minority groups, their weaving traditions, metal stamping, material knowledge, and techniques that carry generations of lived experience.\u003Cbr \u002F>\nGrowing up surrounded by this collection and these conversations profoundly shaped the way I think about craft. I see it not as something static or nostalgic, but as a living archive of memory, identity, and resilience.\u003C\u002Fp>\n",{"variant":1179,"images":18087,"_type":73},[18088,18091],{"_id":18089,"url":18090,"alt":18,"caption":18,"credit":18,"width":2790,"height":6329},2871,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-5.jpg",{"_id":18092,"url":18093,"alt":18,"caption":18,"credit":18,"width":2790,"height":6329},2872,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-5.jpg",{"questions":18095,"_type":45},[18096],{"question":18097,"answer":18098},"\u003Cp>What made you decide to continue this legacy and work within this?\u003C\u002Fp>\n","\u003Cp>What made me continue this legacy was seeing the current state of the world and how quickly craft culture can become vulnerable during conflict. Minority communities have always used craft to document themselves, preserve their identities, and ensure they are not forgotten. For me, craft has always been a form of resistance.\u003Cbr \u002F>\nGrowing up, I watched my father and uncles spend years relying on tacit knowledge to recognize, trace, and hand-pick these objects from collections and markets around the world, bringing them back to preserve and share with our community. Witnessing that made me question how I could contribute to this ongoing dialogue within my own culture.\u003Cbr \u002F>\nI wanted to create a body of work that reflects the histories, ideas, and realities of today’s alternative diaspora while remaining deeply influenced by the lived experiences, craft traditions, and material culture of our heritage. For me, that also meant learning from the wisdom, knowledge, and narratives of the Indigenous inhabitants and artisans.\u003Cbr \u002F>\nWhen you look at archived crafts, whether ceramics, jewellery, furniture, textiles, or metalwork, they tell stories and realities of the people who made them. They tell us how people lived, what they valued, and what they wanted future generations to remember.\u003Cbr \u002F>\nJewellery has always held a particularly important role for women. It has been a way of communicating identity, marking different stages of life, carrying stories, and preserving memory across generations.  Continuing this legacy, for me, is about making sure these stories remain visible, both past and present. I want to contribute to their evolution, allowing them to continue living through these subcultures rather than becoming something we only encounter in archives.\u003C\u002Fp>\n",{"images":18100,"size":84,"_type":57},[18101],{"_id":18102,"url":18103,"alt":18,"caption":18,"credit":18,"width":6189,"height":3001},2873,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-5.jpg",{"questions":18105,"_type":45},[18106],{"question":18107,"answer":18108},"\u003Cp>You combine traditional craft with sculptural and experimental forms using digital, contemporary processes. Can you tell us what this looks like in practice?\u003C\u002Fp>\n","\u003Cp>The process begins with research into the objects within my family’s collection of Iraqi and Bedouin jewellery, silverwork, and material culture, and the rich narratives they carry, particularly those of the Marsh Arab and Bedouin communities.\u003C\u002Fp>\n\u003Cp>I was particularly inspired by a pair of vernacular anklets found across tribal cultures throughout the SWANA region and was drawn to their bold, grungy form. Decorated with niello rosettes symbolizing fertility for young wearers entering puberty, these hammered, hollow anklets revealed another layer of meaning as I held them. I realized they were designed to create a delicate tinkling sound with movement. That tension between visual weight and lightness, stillness and movement, became a constant source of inspiration throughout the collection.\u003C\u002Fp>\n\u003Cp>This can be seen in the bold, grungy visual weight of the forms borrowed from traditional Bedouin anklets, which are dissected and expanded within the earrings. The repetitive elements oscillate between geometric precision and fluid, sculptural forms, creating a balance between structure and movement while echoing the rhythm and suspension of the original objects.\u003C\u002Fp>\n\u003Cp>My pieces are developed through an extensive process of ideation and iteration. I reinterpret and exaggerate this visual language by hand-sculpting in wax, creating new sculptural forms that retain their cultural essence while feeling contemporary within alternative subcultures and fashion ecosystems. From there, I move the work into a digital space, using 3D modelling and digital fabrication to further refine and develop the forms.\u003C\u002Fp>\n\u003Cp>During my time at Central Saint Martins, I explored how technology could work alongside traditional craft rather than replace it, as I believe there is a spiritual connection between makers and the objects they create. I combine hand-making with digital modelling, casting, and alternative metal-forming techniques to create jewellery with the visual weight, presence, and narrative richness of historic silver adornment while remaining lightweight and wearable.\u003C\u002Fp>\n\u003Cp>Working with silver was vital to this process. Across many Iraqi and Bedouin communities, silver has long held a spiritual significance, associated with protection, identity, continuity, and sacredness. For me, working with silver became a way of carrying not only the visual language of these traditions, but also their cultural and spiritual resonance into the present.\u003C\u002Fp>\n\u003Cp>My approach to silver forming allowed me to preserve the sacred materiality and cultural significance of the metal while expanding the possibilities of how it can be experienced today, without losing the maker’s presence or the embodied knowledge carried throughout the process.\u003C\u002Fp>\n",{"variant":1179,"images":18110,"_type":73},[18111,18114],{"_id":18112,"url":18113,"alt":18,"caption":18,"credit":18,"width":6189,"height":1847},2874,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-5.jpg",{"_id":18115,"url":18116,"alt":18,"caption":18,"credit":18,"width":6189,"height":1847},2875,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-5.jpg",{"questions":18118,"_type":45},[18119],{"question":18120,"answer":18121},"\u003Cp>Your collection is titled residual bodies, what does this mean to you?\u003C\u002Fp>\n","\u003Cp>It means everything. Throughout this project, I kept returning to the idea that craft objects become the last remaining traces of the people who made, wore, and passed them on. They outlive generations, carrying memories, stories, and ways of making long after their makers are gone.\u003Cbr \u002F>\nGrowing up within an Iraqi family, where heritage has constantly faced displacement, conflict, and erasure, I began to see these objects as more than adornment. They became relics. For me, Residual Bodies speaks to the belief that objects carry the souls, energies, and presence of their makers. Even when people, places, and traditions are threatened or disappear, these objects continue to hold their memory.\u003Cbr \u002F>\nThe title also reflects the relationship my collection has with the body itself. Jewellery only becomes complete when it is worn, and many of the pieces reinterpret traditional ways of hanging, suspending, and moving across the body that are rooted in Iraqi and Bedouin adornment. The sculptural forms are designed to feel like extensions of the body, while the process of making by hand preserves a physical connection to the gestures and tacit knowledge embedded within traditional craft.\u003C\u002Fp>\n",{"images":18123,"size":139,"_type":57},[18124],{"_id":18125,"url":18126,"alt":18,"caption":18,"credit":18,"width":2630,"height":155},2876,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F65.jpg",{"questions":18128,"_type":45},[18129],{"question":18130,"answer":18131},"\u003Cp>Your pieces within the collection are named Niyya, Citra, Miena. Where do the names come from?\u003C\u002Fp>\n","\u003Cp>The names come from traditional names and the meanings they carry. I wanted each piece to have its own identity while remaining connected to the wider narratives of the collection and the cultures that inspired it.\u003Cbr \u002F>\nNiyya means intention,\u003Cbr \u002F>\nMienna means gift, blessing, or grace\u003C\u002Fp>\n\u003Cp>Citra is associated with, brightness, and purity,\u003C\u002Fp>\n",{"images":18133,"size":139,"_type":57},[18134],{"_id":18135,"url":18136,"alt":18,"caption":18,"credit":18,"width":8542,"height":2652},2877,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-5.jpg",{"questions":18138,"_type":45},[18139],{"question":18140,"answer":18141},"\u003Cp>You mention creating alternative diasporic communities; what do you think these communities are looking for?\u003C\u002Fp>\n","\u003Cp>We are looking to be seen and to feel relevant, with our dual-identity experiences acknowledged. We want to exist beyond monolithic stereotypes and make space for more nuanced, authentic, and hybrid cultural identities. I think people are looking for work that reflects the complexity of who they are without asking them to separate one part of their identity from another.\u003C\u002Fp>\n\u003Cp>There has been an incredible surge of alternative diasporic subcultures creating non-conformist spaces that challenge the feelings of isolation, displacement, and cultural erasure commonly associated with us. Through social media, people are finding one another and creating digital tribes and communities built around their shared experiences of living within the diaspora.\u003C\u002Fp>\n",{"images":18143,"size":84,"_type":57},[18144],{"_id":18145,"url":18146,"alt":18,"caption":18,"credit":18,"width":7826,"height":2652},2878,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-5.jpg",{"questions":18148,"_type":45},[18149],{"question":18150,"answer":18151},"\u003Cp>What’s a piece you haven’t been able to make yet?\u003C\u002Fp>\n","\u003Cp>I actually found the opposite challenge during my masters; I had too many ideas. Every piece I made seemed to lead to another question or another direction I wanted to explore, so it was often difficult to settle on just one. I feel like I have an archive of concepts waiting to blossom.\u003C\u002Fp>\n\u003Cp>More than a specific piece, I’m excited to spend more time experimenting with raw materials from the land.\u003C\u002Fp>\n",{"images":18153,"size":56,"_type":57},[18154],{"_id":18155,"url":18156,"alt":18,"caption":18,"credit":18,"width":7826,"height":2652},2879,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-5.jpg",{"questions":18158,"_type":45},[18159],{"question":638,"answer":18160},"\u003Cp>You can find my work and purchase pieces through my website, iyuh.ca. For a portfolio of selected works, visitayaalshalal.com. I also share my latest projects, process, and upcoming exhibitions on Instagram at @iyuhstudios and @iyuhready.\u003C\u002Fp>\n",{"_type":6,"_id":18162,"slug":18163,"name":18164,"index":18165,"date":18166,"thumbnails":18167,"description":18,"footerImage":18174,"categories":18177,"sections":18179},2905,"caroline-zurmely","Caroline Zurmely",146,"2026-08-17",{"quote":18168,"main":18169,"secondary":18173,"reverse":24},"\u003Cp>“Sometimes the mistake becomes the most interesting part, the thing I spend the next month trying to recreate on purpose.”\u003C\u002Fp>\n",{"image":18170,"background":21,"fit":22},{"_id":18171,"url":18172,"alt":18,"caption":18,"credit":18,"width":1121,"height":990},2906,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F1-7.jpg",{"image":24,"background":21,"fit":22},{"_id":18175,"url":18176,"alt":18,"caption":18,"credit":18,"width":8719,"height":990},2907,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-7.jpg",[18178],{"_id":127,"slug":146,"name":147},[18180,18184,18188,18193,18198,18206,18211,18216,18221,18226,18234,18239,18244,18249,18254,18259,18267,18271,18282],{"questions":18181,"_type":45},[18182],{"question":1171,"answer":18183},"\u003Cp>My name is Caroline Zurmely, and I’m based in Ann Arbor, Michigan.\u003C\u002Fp>\n",{"questions":18185,"_type":45},[18186],{"question":3060,"answer":18187},"\u003Cp>I make paintings with nail polish, usually on panel. They sit somewhere between image and object. There’s color, shine, texture, and a slight physical relief that changes depending on how you look at them.\u003C\u002Fp>\n",{"images":18189,"size":139,"_type":57},[18190],{"_id":18191,"url":18192,"alt":18,"caption":18,"credit":18,"width":4994,"height":2326},2908,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-7.jpg",{"questions":18194,"_type":45},[18195],{"question":18196,"answer":18197},"\u003Cp>How did your curiosity for making art begin?\u003C\u002Fp>\n","\u003Cp>I was always a crafty, introverted kid, so I spent a lot of time playing and making things by myself. I was drawn to color, materials, and texture before I really understood any of that as “art.” I just liked experimenting and figuring out what materials could do. I was also lucky to have very supportive parents who always nurtured that side of me. My grandfather was an artist, so I grew up with the idea that making things was important and that being an artist was something a person could actually do.\u003C\u002Fp>\n",{"variant":222,"images":18199,"_type":73},[18200,18203],{"_id":18201,"url":18202,"alt":18,"caption":18,"credit":18,"width":4994,"height":2326},2909,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-7.jpg",{"_id":18204,"url":18205,"alt":18,"caption":18,"credit":18,"width":4994,"height":2326},2910,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-7.jpg",{"questions":18207,"_type":45},[18208],{"question":18209,"answer":18210},"\u003Cp>You work primarily with nail polish on panel. What drew you to start using nail polish as a material?\u003C\u002Fp>\n","\u003Cp>There are so many tiny reasons that I ended up painting with nail polish. I don’t think I realized how much sense it made for me until after I started. Initially, I was trying to recreate the effect you get from an enamel paint pen when you press the tip down and the paint pools. I loved that little puddle of color, but I couldn’t really mix colors or control it the way I wanted, so I started looking for alternatives. The puddles reminded me of these fake display spills I was obsessed with as a kid. I remember seeing them in home and furniture stores when I would go shopping with my mom. There would be a mug tipped over with coffee spilling out or an upside down ice cream cone melting. I would go around the store trying to find all of them. My favorites were always the bottles of nail polish with these shiny, frozen puddles spilling out. I genuinely thought of them as little sculptures. I also collected nail polish as a kid. I would organize the bottles by shape and color and play with them in the bathroom. I had this three level cabinet that I treated like a dollhouse, and the polish bottles became the dolls. I had actual dolls I could have played with, but there was something special about these bottles and their contents. They had so much personality. They even came with names, which only made it easier to invent characters and backstories for them. So when I eventually arrived at nail polish as a painting material, it connected a lot of things I was already interested in, including unusual materials, shiny surfaces, color, slight relief, beauty culture, collecting, and play. I also like the contradiction of using this very common, familiar material, something associated with decoration and beauty, to make paintings that I want to be taken seriously.\u003C\u002Fp>\n",{"images":18212,"size":84,"_type":57},[18213],{"_id":18214,"url":18215,"alt":18,"caption":18,"credit":18,"width":4994,"height":2326},2911,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-7.jpg",{"variant":1116,"images":18217,"_type":73},[18218],{"_id":18219,"url":18220,"alt":18,"caption":18,"credit":18,"width":276,"height":2326},2912,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-7.jpg",{"questions":18222,"_type":45},[18223],{"question":18224,"answer":18225},"\u003Cp>Your surfaces are relief paintings, not flat images, you even suspend glitter between layers of topcoat to build depth. What drew you to working in relief rather than letting the picture stay on the surface?\u003C\u002Fp>\n","\u003Cp>The relief is slight, and I think that’s what makes it exciting to me. The paintings exist somewhere in between image and object. You understand them as pictures from a distance, but when you get closer, the material starts to assert itself. I like making something that you’re tempted to touch, where the surface feels almost tactile or edible. That relates to the imagery too. I’m often painting things that are already meant to be looked at or desired, so I like when the physical painting becomes desirable in its own way. The shine, glitter, thickness, and transparency aren’t just illustrating the image. They make the painting into an object with its own appeal.\u003C\u002Fp>\n",{"variant":1179,"images":18227,"_type":73},[18228,18231],{"_id":18229,"url":18230,"alt":18,"caption":18,"credit":18,"width":276,"height":1121},2915,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-7.jpg",{"_id":18232,"url":18233,"alt":18,"caption":18,"credit":18,"width":276,"height":1121},2916,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-7.jpg",{"questions":18235,"_type":45},[18236],{"question":18237,"answer":18238},"\u003Cp>Your images come from fashion photography, advertising, paparazzi shots, and beauty culture. What draws you to that world as source material and what do you look for in reference images?\u003C\u002Fp>\n","\u003Cp>In general, I paint what I’m already looking at, collecting, or thinking about. I’ve always had a fascination with beauty and presentation. As a kid I played with nail polish and makeup, made clothes, decorated and constantly rearranged my room. I loved magazines, especially the fragrance and fashion ads and the little perfume samples. I used to play editor in chief and mark magazines up with a red pen. The celebrity and exclusivity of that world fascinate me too. I’m genuinely attracted to it, but there’s also something embarrassing or guilty about that attraction. I love the shiny side of things, and at the same time I can feel a little repulsed by it. I don’t really want to resolve that contradiction because I think that tension is more interesting. When I’m choosing an image, I’m usually looking for something that catches me before I completely understand why. It might be a gesture, a crop, a piece of jewelry, a hand, the way fabric sits against a body, or some strange moment in a photograph. Often I remove most of the information that originally made the image legible. I’m interested in what happens when something designed to sell a product, a person, or a fantasy gets separated from its original purpose and becomes something else.\u003C\u002Fp>\n",{"images":18240,"size":56,"_type":57},[18241],{"_id":18242,"url":18243,"alt":18,"caption":18,"credit":18,"width":3143,"height":548},2917,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-7.jpg",{"questions":18245,"_type":45},[18246],{"question":18247,"answer":18248},"\u003Cp>So many of your paintings zoom into a tightly cropped fragment with no background at all, a lineage you connect to Irving Penn. What are you looking for in a close up?\u003C\u002Fp>\n","\u003Cp>It’s funny because growing up I remember getting in trouble in art classes for not putting in a “proper” background. I also got called out for using glitter. I’m pretty strong willed, and even then I trusted my gut about those things. Maybe part of me is still trying to prove that you can make serious work while breaking rules about what serious art is supposed to look like or what materials you’re supposed to use. Cropping also lets me take an image that already exists and change the way it functions. I’ve always looked at advertisements and fashion photographs as more than just a means to sell something. There are details in them that I become fixated on. By isolating those fragments and removing their context, I can allude to the original world without completely giving it back to the viewer. I like that a crop can make something more intimate and more ambiguous at the same time. A body can become a shape, a gesture can become strange, or a familiar object can become almost abstract. You recognize something, but you don’t necessarily know the whole story anymore.\u003C\u002Fp>\n",{"images":18250,"size":84,"_type":57},[18251],{"_id":18252,"url":18253,"alt":18,"caption":18,"credit":18,"width":3143,"height":548},2918,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F13-4.jpg",{"questions":18255,"_type":45},[18256],{"question":18257,"answer":18258},"\u003Cp>So much of your work centers on objects of desire and beauty. What is it about desire that you find yourself wanting to explore?\u003C\u002Fp>\n","\u003Cp>My relationship to desire is probably a love hate relationship. I’m interested in things that are almost universally understood as beautiful, luxurious, desirable, or aspirational, and I’m not outside of that. I want some of those things too. I think there can be an embarrassment in wanting what everyone else has already been told to want. I’m interested in that feeling. I don’t want the paintings to simply celebrate those desires, but I also don’t want to stand outside of them and criticize them as if I’m immune. I’m implicated in them. The material has that same contradiction. Nail polish is literally made to beautify and decorate a surface. It’s glossy, colorful, seductive, sometimes glittery. I use all of those qualities sincerely. I really do love them, but I can also push them until they become excessive or strange. I think the work lives somewhere in that ambivalence. Wanting something, questioning why you want it, and still finding it beautiful anyway.\u003C\u002Fp>\n",{"variant":1179,"images":18260,"_type":73},[18261,18264],{"_id":18262,"url":18263,"alt":18,"caption":18,"credit":18,"width":3143,"height":548},2919,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F14-3.jpg",{"_id":18265,"url":18266,"alt":18,"caption":18,"credit":18,"width":3143,"height":548},2920,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F15-1.jpg",{"questions":18268,"_type":45},[18269],{"question":17927,"answer":18270},"\u003Cp>One of the things I love about not limiting myself to traditional art materials is that almost anything can become useful. I once saw a bench at a café upholstered in this green, sequin like fabric and immediately wanted to figure out how to make a painting that felt like it. I like being alert to surfaces and materials in everyday life. I also take walks, listen to music, and let my mind wander. I keep a running list on my phone whenever a process idea or technique comes to mind. A lot of them are questions rather than ideas for finished paintings. What happens if I layer this over that? Can I make this material behave differently? Can I get this effect at a larger scale? Then I go into the studio and try to answer those questions through trial and error. That might be what fuels me most. I really like problem solving. When something doesn’t work, I become very determined to understand why and figure out another way forward. Sometimes the mistake becomes the most interesting part, the thing I spend the next month trying to recreate on purpose.\u003C\u002Fp>\n",{"first":18272,"second":18276,"third":18279,"variant":94,"_type":206},{"_id":18273,"url":18274,"alt":18,"caption":18,"credit":18,"width":18275,"height":548},2921,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F16-1.jpg",460,{"_id":18277,"url":18278,"alt":18,"caption":18,"credit":18,"width":18275,"height":548},2922,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F17.jpg",{"_id":18280,"url":18281,"alt":18,"caption":18,"credit":18,"width":18275,"height":548},2923,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F18.jpg",{"questions":18283,"_type":45},[18284],{"question":638,"answer":18285},"\u003Cp>You can email me at zurmelyc@gmail.com. My website is carolinezurmely.com and @carolinezurmely on Instagram.\u003C\u002Fp>\n",{"_type":6,"_id":18287,"slug":18288,"name":18289,"index":18290,"date":18291,"thumbnails":18292,"description":18,"footerImage":18302,"categories":18305,"sections":18307},2926,"vandart","VANDART",147,"2026-08-18",{"quote":18293,"main":18294,"secondary":18298,"reverse":24},"\u003Cp>“Beirut gave vandart its feminine appeal, while Dubai gave it something more grounded and familiar.”\u003C\u002Fp>\n",{"image":18295,"background":21,"fit":22},{"_id":18296,"url":18297,"alt":18,"caption":18,"credit":18,"width":16283,"height":3134},2931,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F4-8.jpg",{"image":18299,"background":137,"fit":22},{"_id":18300,"url":18301,"alt":18,"caption":18,"credit":18,"width":2457,"height":279},2928,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F2-8.jpg",{"_id":18303,"url":18304,"alt":18,"caption":18,"credit":18,"width":2457,"height":3134},2929,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F3-8.jpg",[18306],{"_id":240,"slug":2416,"name":2417},[18308,18312,18316,18321,18326,18331,18336,18341,18346,18351,18356,18364,18369,18374,18379,18384,18389,18394,18398,18404],{"questions":18309,"_type":45},[18310],{"question":1319,"answer":18311},"\u003Cp>Tania Hawilo. Based between Dubai & Beirut\u003C\u002Fp>\n",{"questions":18313,"_type":45},[18314],{"question":3060,"answer":18315},"\u003Cp>Designing clothing and the visual world that surrounds it\u003C\u002Fp>\n",{"images":18317,"size":84,"_type":57},[18318],{"_id":18319,"url":18320,"alt":18,"caption":18,"credit":18,"width":16283,"height":1729},2933,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F5-8.jpg",{"questions":18322,"_type":45},[18323],{"question":18324,"answer":18325},"\u003Cp>When did you start to think creatively, and how did fashion find its way into your practice?\u003C\u002Fp>\n","\u003Cp>We didn’t get Fashion TV growing up in Sharjah, my dad unlocked it for  my mum and I ended up watched it more than cartoons . The shows felt so captivating back then and really got me dreaming about what I could become.\u003C\u002Fp>\n",{"images":18327,"size":84,"_type":57},[18328],{"_id":18329,"url":18330,"alt":18,"caption":18,"credit":18,"width":5519,"height":1729},2934,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F6-8.jpg",{"questions":18332,"_type":45},[18333],{"question":18334,"answer":18335},"\u003Cp>What does the name of your brand, vandart, mean?\u003C\u002Fp>\n","\u003Cp>It really means the first thing that comes to mind. I didn’t want to give the brand a name that would create any boundaries, so I thought of a word that simply hinted at something artful and creative.\u003C\u002Fp>\n",{"images":18337,"size":56,"_type":57},[18338],{"_id":18339,"url":18340,"alt":18,"caption":18,"credit":18,"width":17228,"height":1729},2935,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F7-8.jpg",{"questions":18342,"_type":45},[18343],{"question":18344,"answer":18345},"\u003Cp>vandart’s roots are between Dubai and Beirut. How do those two cities inspire its world?\u003C\u002Fp>\n","\u003Cp>Beirut gave vandart its feminine appeal, while Dubai gave it something more grounded and familiar. Art No.001, for example, was inspired by the way a Khaleeji sheila is adorned, but reinterpreted in a contemporary way.\u003C\u002Fp>\n",{"images":18347,"size":84,"_type":57},[18348],{"_id":18349,"url":18350,"alt":18,"caption":18,"credit":18,"width":248,"height":1729},2936,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F8-7.jpg",{"questions":18352,"_type":45},[18353],{"question":18354,"answer":18355},"\u003Cp>Before starting your own brand, you worked across a remarkable range, an early designer at The Giving Movement, time with Elie Saab and Marques ‘Almeida, and contributions to projects for Ye. What did you learn during those experiences?\u003C\u002Fp>\n","\u003Cp>I learnt that there’s a real appetite for creative pieces that are still wearable and well-priced. A lot of brands try to find that balance, but you usually have to compromise somewhere, and often it’s the branding. Each place I worked taught me something different ,TGM taught me commerciality, while Elie Saab taught me to keep dreaming.\u003C\u002Fp>\n",{"variant":1116,"images":18357,"_type":73},[18358,18361],{"_id":18359,"url":18360,"alt":18,"caption":18,"credit":18,"width":248,"height":7136},2937,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F9-8.jpg",{"_id":18362,"url":18363,"alt":18,"caption":18,"credit":18,"width":248,"height":7136},2938,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F10-8.jpg",{"questions":18365,"_type":45},[18366],{"question":18367,"answer":18368},"\u003Cp>What’s been the hardest part of launching independently, and how have you navigated it?\u003C\u002Fp>\n","\u003Cp>Not listening to the voice that says you can’t do it, or giving in to the pressure. I changed my perspective and started seeing the brand as a passion I always want to keep alive, and found a way to make it financially possible to do that. It’s a slower start, but the journey feels much more true to the process. I’m also a new mum so .. enough said.\u003C\u002Fp>\n",{"images":18370,"size":56,"_type":57},[18371],{"_id":18372,"url":18373,"alt":18,"caption":18,"credit":18,"width":248,"height":7136},2939,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F11-8.jpg",{"questions":18375,"_type":45},[18376],{"question":18377,"answer":18378},"\u003Cp>How would you describe your design process, where does a piece or collection usually begin for you?\u003C\u002Fp>\n","\u003Cp>It’s very intuitive and drawn from my surroundings. I really pay attention to what feels missing, whether it’s a certain piece, feeling or way of dressing, and build from there.\u003C\u002Fp>\n",{"images":18380,"size":84,"_type":57},[18381],{"_id":18382,"url":18383,"alt":18,"caption":18,"credit":18,"width":136,"height":865},2940,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F12-5.jpg",{"questions":18385,"_type":45},[18386],{"question":18387,"answer":18388},"\u003Cp>Who is the vandart woman, and what do you want her to feel when she wears your pieces?\u003C\u002Fp>\n","\u003Cp>She’s a woman who values everything, from her interesting little card holder to the handwritten notes she keeps. I want her to feel completely comfortable in what she wears, but still cool, considered and elegant throughout her day.\u003C\u002Fp>\n",{"images":18390,"size":56,"_type":57},[18391],{"_id":18392,"url":18393,"alt":18,"caption":18,"credit":18,"width":4282,"height":865},2941,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F13-5.jpg",{"questions":18395,"_type":45},[18396],{"question":18034,"answer":18397},"\u003Cp>Just daily instances. I like to leave some room to wonder,  what could be worn here, certain colour palettes, textures and little details I notice around me.\u003C\u002Fp>\n",{"images":18399,"size":56,"_type":57},[18400],{"_id":18401,"url":18402,"alt":18,"caption":18,"credit":18,"width":4282,"height":18403},2942,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002F14-4.jpg",548,{"questions":18405,"_type":45},[18406],{"question":638,"answer":18407},"\u003Cp>People can shop the collection on www.vandart.com or see my latest campaigns on @studio.vandart\u003C\u002Fp>\n",[18409,18528],{"_type":18410,"_id":18411,"slug":18412,"name":18413,"index":10,"startDate":18414,"endDate":18415,"location":18416,"subtitle":18,"hideSubtitle":24,"curatedBy":18,"thumbnails":18417,"textBy":18,"footerText":18421,"footerExtraLines":18,"sections":18422},"programme",212,"objects-residency-project-1","Objects Residency Project #1","2025-05-12","2025-05-25","Ramatuelle ",[18418],{"_id":18419,"url":18420,"alt":18,"caption":18,"credit":18,"width":6033,"height":9909},2586,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-19.jpg","\u003Cp>Artists Include: Elton Fun and Orange Terry\u003C\u002Fp>\n",[18423,18426,18437,18439,18448,18450,18458,18460,18468,18470,18478,18480,18489,18491,18499,18501],{"text":18424,"_type":18425},"\u003Cp>For two weeks this summer, Objects×4 hosted its first residency with two artists in the South of France. The artists include Orange Terry (@orangeterry), a sculptor and designer, and Elton Fun (@freedomgum) , a photographer and videographer, both have built their practices entirely in Hong Kong, a city whose density and material excess have shaped everything they make. The residency removed that foundation, questioning what their practices would do when their familiarity was taken away.\u003C\u002Fp>\n","text_programme_section",{"variant":1116,"images":18427,"_type":18436},[18428,18432],{"_id":18429,"url":18430,"alt":18,"caption":18431,"credit":18,"width":865,"height":1265},2610,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FELTON-1.jpg","Elton Fun @freedomgum",{"_id":18433,"url":18434,"alt":18,"caption":18435,"credit":18,"width":865,"height":1265},2611,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FTERRY1.jpg","Orange Terry @orangeterry","two_images_programme_section",{"text":18438,"_type":18425},"\u003Cp>The first week was spent learning about and finding inspiration within the region. We travelled to nearby towns and along the coast, to Porquerolles, where \u003Ca href=\"https:\u002F\u002Fwww.fondationcarmignac.com\u002Ffr\u002F\">Fondation Carmignac\u003C\u002Fa> held the group exhibition VERTIGO, and to Hyères, where we took a tour of the modernist \u003Ca href=\"https:\u002F\u002Fvillanoailles.com\">Villa Noailles\u003C\u002Fa>. Alongside the art, we had also visited nearby vineyards and toured the winemaking processes that are central to the region.\u003C\u002Fp>\n",{"variant":1179,"images":18440,"_type":18436},[18441,18445],{"_id":18442,"url":18443,"alt":18,"caption":18,"credit":18,"width":865,"height":18444},2612,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FROAD-1.jpg",878,{"_id":18446,"url":18447,"alt":18,"caption":18,"credit":18,"width":865,"height":18444},2614,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FVINEYARD-1.jpg",{"text":18449,"_type":18425},"\u003Cp>Then came the time to begin working on the pieces. Since Terry works from found objects, something Hong Kong provides in endless supply, the South of France, we discovered, discards almost nothing. The streets offered him nothing to work with, but instead, the region is famous for its markets, every town has its own and they’re hosted almost every day. At these markets, you’ll find anything from incredible century old family heirlooms In the form of jewelry or crests, to space age Sputnik newspaper racks, or old postcards, stamps, boxes… These formed the residency’s backbone as the market mornings became part of real studio time.\u003C\u002Fp>\n",{"variant":1179,"images":18451,"_type":18436},[18452,18455],{"_id":18453,"url":18454,"alt":18,"caption":18,"credit":18,"width":1748,"height":2336},2615,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FMARKET1.jpg",{"_id":18456,"url":18457,"alt":18,"caption":18,"credit":18,"width":1748,"height":2336},2616,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FMRKT2.jpg",{"text":18459,"_type":18425},"\u003Cp>The region kept offering material inspiration in unexpected forms. At the vineyards, Terry became fixated not on the wine but on the effect it had in the large basins that were used to carry it, the deep red residue that settles at the bottom of the containers. He began treating wine as a stain and saturating wood with it, a local pigment the region produces by the tonne.\u003C\u002Fp>\n",{"variant":1116,"images":18461,"_type":18436},[18462,18465],{"_id":18463,"url":18464,"alt":18,"caption":18,"credit":18,"width":5997,"height":10393},2617,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FTERRY-WINE.jpg",{"_id":18466,"url":18467,"alt":18,"caption":18,"credit":18,"width":5997,"height":10393},2618,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fwinewood.jpg",{"text":18469,"_type":18425},"\u003Cp>We shared every meal of the residency, and the table inspired a work of its own. Early on, Terry and Elton introduced us to Coca Cola chicken, a Hong Kong home cooking classic, and since the house kept chickens, the dish became a collision of the two. The resulting collaboration brings together Elton’s photographs of the chicken with the Coca Cola, the recipe itself, and a piece of Terry’s wine-stained wood, Hong Kong’s kitchen and the Var’s vineyard fixed into a single object. It is the most autobiographical work of the residency, a record of two weeks of eating together, with coca cola chicken appearing most frequently on the menu.\u003C\u002Fp>\n",{"variant":1179,"images":18471,"_type":18436},[18472,18475],{"_id":18473,"url":18474,"alt":18,"caption":18,"credit":18,"width":1632,"height":3972},2584,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FUntitled-1.jpg",{"_id":18476,"url":18477,"alt":18,"caption":18,"credit":18,"width":5997,"height":10393},2619,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002Fcocacolachicken.jpg",{"text":18479,"_type":18425},"\u003Cp>Terry is best known for his critique of waste, most famously the work in which a stack of identical chairs is glued into one mass and sliced back down to the profile of a single chair, excess rendered literally. At the markets we found stackable chairs of exactly the kind the piece requires, and he adapted the idea to them with the same process.\u003C\u002Fp>\n",{"variant":1179,"images":18481,"_type":18436},[18482,18486],{"_id":18483,"url":18484,"alt":18,"caption":18,"credit":18,"width":18485,"height":3761},2620,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FCHAIRS.jpg",679,{"_id":18487,"url":18488,"alt":18,"caption":18,"credit":18,"width":5997,"height":3761},2621,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FCHAIRS-STACKED.jpg",{"text":18490,"_type":18425},"\u003Cp>His final work came from the markets’ most abundant offering. Every market, we noticed, was full of boxes, whether wooden crates, cases, containers of every size, sold in large quantities. Terry decided to create a table made up of these boxes combined into a single functioning piece of furniture, complete with a Kleenex box built into its side. It is classic Terry, a contemporary design rebuilt from traditional pieces that were already there.\u003C\u002Fp>\n",{"variant":1116,"images":18492,"_type":18436},[18493,18496],{"_id":18494,"url":18495,"alt":18,"caption":18,"credit":18,"width":18485,"height":3761},2622,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FTABLE.jpg",{"_id":18497,"url":18498,"alt":18,"caption":18,"credit":18,"width":18485,"height":3761},2623,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002FKLEENEX.jpg",{"text":18500,"_type":18425},"\u003Cp>Elton’s role in all of this was double. He was there to document Terry’s works, the markets and the residency itself. However the markets left him with a work of his own. Among the stalls he landed on an adjustable mannequin arm, the kind made for shop displays, its fingers posable. He set it into a middle finger and began pointing it at the vendors, photographing their reactions one by one. This series is the residency’s direct exchange with the place itself using the found object turned back on the very people who sell such things, and the vendors, usually the ones watching, are caught, for once, on the other side. It is also the funniest work of the two weeks, and the one that best captures what the markets became to us, a cast of incredible characters.\u003C\u002Fp>\n",{"images":18502,"mobileImages":24,"_type":18527},[18503,18506,18509,18512,18515,18518,18521,18524],{"_id":18504,"url":18505,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2684,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-22.jpg",{"_id":18507,"url":18508,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2685,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-21.jpg",{"_id":18510,"url":18511,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2686,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-21.jpg",{"_id":18513,"url":18514,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2687,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-18.jpg",{"_id":18516,"url":18517,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2688,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-16.jpg",{"_id":18519,"url":18520,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2689,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-19.jpg",{"_id":18522,"url":18523,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2690,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F7-19.jpg",{"_id":18525,"url":18526,"alt":18,"caption":18,"credit":18,"width":14822,"height":3908},2691,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-15.jpg","image_slideshow_programme_section",{"_type":18410,"_id":18529,"slug":18530,"name":18531,"index":127,"startDate":18532,"endDate":18533,"location":18534,"subtitle":18,"hideSubtitle":1309,"curatedBy":18535,"thumbnails":18536,"textBy":18535,"footerText":18541,"footerExtraLines":18542,"sections":18543},210,"24h","24H","2026-06-26","2026-06-29","Espace Paralèlle, 47 rue Servan, Paris","Sarah Al Rashid",[18537],{"_id":18538,"url":18539,"alt":18,"caption":18,"credit":18540,"width":8399,"height":3885},2568,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F1-19.jpg","Ivan Stolbovoi","\u003Cp>Featured Artists: Abdullah Alabdulrazaq, Adekoya Sarah Tolulope, Agustin Rodriguez Sanchez, Ahmed Alabbadi, Alexandra Saunders, Alexander McCarron, Amelie Schaeberle, Andile Bhala, Andrew Putschoegl, Ani Lukhava, Anna Kostenko, Annaelle Quionquion, Anouk Sina Vera Merceron Abardouch, Anton Sinitsyn, Birat Rai, Björn Nilsson, Bo Fan, Buku Sarkar, Camille Nguyễn Vân Thanh, Christian Saint, Daron Bandeira, David Roth, Eirian Xmal, Erik Hadife, Febry Ferischa, Felipe Braga Gonçalves, Feride Görmez, Firman Naufal Adiansyah, Francisco Bernardo Benitez, Hasan Ibrahim Belal, Hunter Mathews, Ibrahim Nader Alzaben, Igor Zelenov, Iraklia Dede, Isaac Jimmy, Isabela Arboleda-Ocoro, Ismail Zahid, Jacki Ortiz, Josephine Binder, Julian Caballero, Kehinde Falana, Kerr McIlwraith, Kimnaton Abigail Vurzi, Kofi Annang, Kyle Liang, Langelihle Bulose, Lau Cheuk Yin Leon, Lauren Hillsdon, Le Thi Dieu Chau, Lolita Yakunina, Luciana Lopez Schutz, Lynn Abou Jaoude, Maddie Axentoi, Maya Corrêa, Márcia Maria Arsénio Simões, Mohammed Buhasan, Nakhom Raaviphanun, Niamh Shepherd, Prince Elsha Martey, Rachel Castelli, Raquel Sofia Fragoso Ferreira, Rajesh Dhar, Ranmali Kirinde, Rebecca Hayat Wakim, Rena Tom, Roberto Tenace, Rodrigues Goncalves, Rosalie Maxima Maier, Ryan Ad, Salem Mohammed Al Aljabr, Samuel Kehinde Adebayo, Sara Escalante, Sergey Lebediev, Shivam Chaudhry, Tanmoy Adhikary, Tina Masoumi, Tri Ahmad Djabalul Lael, Ulmeanu Ana-Maria, Vincent Dankaerts, Xiangzhi Zhao, Xiao Zhang, Xuanxuan Song, Yasmina Hilal, Yeeun Kim.\u003C\u002Fp>\n","Opening: 26th June \r\nExhibition dates: 27th - 29th June\r\n",[18544,18546,18552,18554,18562],{"text":18545,"_type":18425},"\u003Ch2>24H\u003C\u002Fh2>\n\u003Cp>24H brings together 149 photographs by 94 contributors from around the world, selected from one thousand submissions to an international open call. Participants were invited to photograph their day, submit between one and five images and to record, for each, the exact time it was taken and a brief description of the moment. Presented in chronological order, the photographs form a collective timeline of a single day as it unfolds across different lives.\u003C\u002Fp>\n\u003Cp>Organised by time rather than by author or place, the exhibition draws unexpected parallels between strangers, with moments of striking similarity captured at the exact same time on opposite sides of the world, alongside experiences that couldn’t be more different. This allowed for ordinary and significant moments to appear side by side, without hierarchy, as they do within any single day.\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>\n",{"images":18547,"size":7031,"_type":18551},[18548],{"_id":18549,"url":18550,"alt":18,"caption":18,"credit":18540,"width":8399,"height":3885},2569,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F2-18.jpg","single_image_programme_section",{"text":18553,"_type":18425},"\u003Cp>Each photograph is accompanied by a short text written by its contributor. These texts reveal what lies beyond the frame. An apparently ordinary image may describe a life-changing event, while an extraordinary scene may belong to an everyday routine. Together, image and text question the assumption that seeing is the same as understanding.\u003C\u002Fp>\n\u003Cp>At a time when images circulate in unprecedented volume and are consumed even faster than they are put out, 24H asks what it means to pay attention to the lives of others. Perhaps the question is no longer whether we can see one another, but whether we still know how to pay attention. \u003Ca href=\"https:\u002F\u002Fqr.scanned.page\u002Fuploads\u002Fpdf\u002F16HMlo_eca7ee2370271882.pdf?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnUateW_X8Q-DoWvl4WMB53GeCG8k2mwsn3cMyh6zQ3Fc6R_Lef9ePSUhsLzQ_aem_m_J4RUn345e7gv080bnlwQ\">Click here to view the exhibition catalogue. \u003C\u002Fa>\u003C\u002Fp>\n",{"variant":1179,"images":18555,"_type":18436},[18556,18559],{"_id":18557,"url":18558,"alt":18,"caption":18,"credit":18,"width":82,"height":3885},2609,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F3-18-crop.jpg",{"_id":18560,"url":18561,"alt":18,"caption":18,"credit":18,"width":82,"height":3885},2572,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F4-16.jpg",{"images":18563,"mobileImages":24,"_type":18527},[18564,18567,18570,18574,18577,18580,18583],{"_id":18565,"url":18566,"alt":18,"caption":18,"credit":18,"width":82,"height":3885},2573,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F5-15.jpg",{"_id":18568,"url":18569,"alt":18,"caption":18,"credit":18,"width":82,"height":3885},2574,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F6-18.jpg",{"_id":18571,"url":18572,"alt":18,"caption":18,"credit":18,"width":18573,"height":4802},2576,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F8-14.jpg",683,{"_id":18575,"url":18576,"alt":18,"caption":18,"credit":18,"width":9816,"height":14122},2577,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F9-12.jpg",{"_id":18578,"url":18579,"alt":18,"caption":18,"credit":18,"width":1644,"height":3171},2579,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F10-6.jpg",{"_id":18581,"url":18582,"alt":18,"caption":18,"credit":18,"width":9859,"height":3171},2580,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F11-7.jpg",{"_id":18584,"url":18585,"alt":18,"caption":18,"credit":18,"width":1632,"height":3171},2581,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F01\u002F12-8.jpg",[18587,18597,18652],{"_id":644,"slug":18588,"name":18589,"seo":18590,"sections":18593},"home","Interviews",{"title":18591,"description":18,"ogImage":18592},"OBJECTSX4",null,[18594],{"intro":18595,"_type":18596},"OX4 is a curatorial, research driven platform dedicated to documenting and contextualizing creative pursuits across disciplines.","interviews_section",{"_id":1565,"slug":18598,"name":18599,"seo":18600,"sections":18601},"about","About",{"title":18599,"description":18,"ogImage":18592},[18602],{"columns":18603,"_type":18651},[18604,18627,18643,18647],{"image":18605,"content":18626},{"ID":18606,"id":18606,"title":18607,"filename":18608,"filesize":18609,"url":18610,"link":18611,"alt":18,"author":18612,"description":18,"caption":18,"name":18613,"status":18614,"uploadedTo":1565,"date":18615,"modified":18615,"menuOrder":1583,"mimeType":18616,"type":18617,"subtype":18618,"icon":18619,"width":840,"height":1061,"sizes":18620},2702,"About-placeholder-5","About-placeholder-5.jpg",16542,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-5.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fabout\u002Fabout-placeholder-5\u002F","1","about-placeholder-5","inherit","2026-08-06 10:55:59","image\u002Fjpeg","image","jpeg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fwp\u002Fwp-includes\u002Fimages\u002Fmedia\u002Fdefault.png",{"thumbnail":18621,"thumbnail-width":10935,"thumbnail-height":10935,"medium":18622,"medium-width":1397,"medium-height":18623,"mediumLarge":18624,"mediumLarge-width":568,"mediumLarge-height":4699,"large":18625,"large-width":569,"large-height":999,"1536x1536":18610,"1536x1536-width":840,"1536x1536-height":1061,"2048x2048":18610,"2048x2048-width":840,"2048x2048-height":1061},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-5-150x150.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-5-300x197.jpg",197,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-5-768x504.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-5-1024x672.jpg","Objects×4 was founded in 2025 by Sarah Al Rashid as an accessible curatorial platform dedicated to documenting and contextualizing creative pursuits across disciplines. The platform began with an open call, an invitation for anyone to apply and share their story in an interview. This founding principle still defines how we work, creating a more accessible creative space that focuses solely on the work of the individual, regardless of anything else.",{"image":18628,"content":18642},{"ID":18629,"id":18629,"title":18630,"filename":18631,"filesize":18632,"url":18633,"link":18634,"alt":18,"author":18612,"description":18,"caption":18,"name":18635,"status":18614,"uploadedTo":1565,"date":18636,"modified":18636,"menuOrder":1583,"mimeType":18616,"type":18617,"subtype":18618,"icon":18619,"width":840,"height":1061,"sizes":18637},2703,"About-placeholder-6","About-placeholder-6.jpg",16534,"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-6.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fabout\u002Fabout-placeholder-6\u002F","about-placeholder-6","2026-08-06 10:56:01",{"thumbnail":18638,"thumbnail-width":10935,"thumbnail-height":10935,"medium":18639,"medium-width":1397,"medium-height":18623,"mediumLarge":18640,"mediumLarge-width":568,"mediumLarge-height":4699,"large":18641,"large-width":569,"large-height":999,"1536x1536":18633,"1536x1536-width":840,"1536x1536-height":1061,"2048x2048":18633,"2048x2048-width":840,"2048x2048-height":1061},"https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-6-150x150.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-6-300x197.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-6-768x504.jpg","https:\u002F\u002Fwordpress.objectsx4.com\u002Fapp\u002Fuploads\u002F2026\u002F08\u002FAbout-placeholder-6-1024x672.jpg","Through interviews, Objects×4 explores the conceptual dimensions of contemporary artistic practice, told directly in the words of the people who make the work. Each conversation adds to a growing archive that sees objects as vessels of memory, intention, labor, and identity. Our aim is to build a resource for anyone interested in the direct relationship between people and the things they create.",{"image":18644,"content":18646},{"ID":18606,"id":18606,"title":18607,"filename":18608,"filesize":18609,"url":18610,"link":18611,"alt":18,"author":18612,"description":18,"caption":18,"name":18613,"status":18614,"uploadedTo":1565,"date":18615,"modified":18615,"menuOrder":1583,"mimeType":18616,"type":18617,"subtype":18618,"icon":18619,"width":840,"height":1061,"sizes":18645},{"thumbnail":18621,"thumbnail-width":10935,"thumbnail-height":10935,"medium":18622,"medium-width":1397,"medium-height":18623,"mediumLarge":18624,"mediumLarge-width":568,"mediumLarge-height":4699,"large":18625,"large-width":569,"large-height":999,"1536x1536":18610,"1536x1536-width":840,"1536x1536-height":1061,"2048x2048":18610,"2048x2048-width":840,"2048x2048-height":1061},"Interviews were only the starting point. Objects×4 is now extending into physical experiences through exhibitions, residencies, sponsorships, and more. These are always designed to let people build even deeper, more meaningful relationships with creative practices.",{"image":18648,"content":18650},{"ID":18629,"id":18629,"title":18630,"filename":18631,"filesize":18632,"url":18633,"link":18634,"alt":18,"author":18612,"description":18,"caption":18,"name":18635,"status":18614,"uploadedTo":1565,"date":18636,"modified":18636,"menuOrder":1583,"mimeType":18616,"type":18617,"subtype":18618,"icon":18619,"width":840,"height":1061,"sizes":18649},{"thumbnail":18638,"thumbnail-width":10935,"thumbnail-height":10935,"medium":18639,"medium-width":1397,"medium-height":18623,"mediumLarge":18640,"mediumLarge-width":568,"mediumLarge-height":4699,"large":18641,"large-width":569,"large-height":999,"1536x1536":18633,"1536x1536-width":840,"1536x1536-height":1061,"2048x2048":18633,"2048x2048-width":840,"2048x2048-height":1061},"If you are a creative that would like to apply for an interview, or want to get in touch, reach out at sarah@objectsx4.com.","about_section",{"_id":18653,"slug":18654,"name":18655,"seo":18656,"sections":18657},218,"programmes","Programmes",{"title":18655,"description":18,"ogImage":18592},[],{"0":18659,"1":18660,"2":18661,"3":18662,"4":18663,"5":18664,"6":18665,"7":18666,"11":18667,"12":18668,"13":18669,"16":18670,"19":18671},{"_id":644,"slug":1883,"name":1884},{"_id":127,"slug":146,"name":147},{"_id":259,"slug":260,"name":261},{"_id":930,"slug":4956,"name":4957},{"_id":33,"slug":34,"name":35},{"_id":495,"slug":2901,"name":2902},{"_id":240,"slug":2416,"name":2417},{"_id":1027,"slug":3346,"name":3347},{"_id":1400,"slug":11335,"name":11336},{"_id":1565,"slug":11217,"name":11218},{"_id":1739,"slug":7913,"name":7914},{"_id":2159,"slug":7650,"name":7651},{"_id":2399,"slug":8268,"name":8269},{"seo":18673,"menu":18674,"other":18679},{"title":18591,"description":18595,"ogImage":18592},{"links":18675},[18676,18677,18678],{"_id":644,"name":18589,"slug":18588},{"_id":18653,"name":18655,"slug":18654},{"_id":1565,"name":18599,"slug":18598},{"email":18680},"info@objectsx4.com",1787578457060]