Explore The Interplay Of Design And Nature In ‘Creatures Of Comfort’

Hosted at Odunpazarı Modern Museum (OMM) in the city of Eskişehir, Turkey, “Creatures of Comfort” is a brand new showcase that explores the fascinating interplay between design and nature, examining how these seemingly disparate elements coexist in both contemporary art and everyday life. Curated by OMM’s chairperson İdil Tabanca, the exhibition, which will run until July 19, 2025, boasts an international roster of artists and designers. It also presents works that challenge conventional notions of functionality by infusing everyday objects with biophilic elements and emotional depth, inviting the natural world back into artificial, urban spaces through new approaches and ideas that celebrate the organic over the sterile and mechanistic. From an amorphic stained glass sculpture to a bright pink cabinet inspired by egg clusters of apple snails, here are just some of the highlights on display at the Odunpazarı Modern Museum’s organic exhibit “Creatures of Comfort.”

See These Sustainable Works At the Odunpazarı Modern Museum

Drill Vases (2016) by Studio EO

Created by Stockholm-based Studio EO, founded in 2013 by Erik Olovsson, Drill Vases is a series that demonstrates an intuitive, experimental approach juxtaposing smooth glass against the roughness of natural marble. Utilizing discarded marble collected from Italy’s Carrara region as bases, and a hammer and chisel initial treatment before drilling openings for the hand-blown cylindrical glass vases, this deliberate pairing highlights fundamental oppositions of transparency versus opacity; durability contrasted against fragility; raw, crude textuality against a glossy, refined finish; and order and chaos.

Masa (2022) by VAUST

Part of the Total Exposure series, Masa comes from VAUST, a Berlin-based interior design studio formed by Joern Scheipers and David Kosock, and exemplifies the duo’s dedication to unconventional thinking, distinctive aesthetics and artistic design. Referencing common geometric patterns and minimalist architectural forms reminiscent of Greco-Roman pillars, a cut-off sphere emerges from the rigidity of the cross-column stand, capped by an aluminum disc on its topmost surface. Through the addition of storage space, the object is rendered multi-functional, while the marble gravel base provides deliberate weight.

Epidrome (2020) by touche-touche

Epidrome—made by Théo Demans and Carolin Gieszner of Belgian firm touche-touche—centers a comfortable mattress in the middle of hard ‘rock’, creating a soft, safe shelter to rest. The roughness of the bed frame contrasts starkly with the cosiness of the mattress itself, combining primal aesthetics with contemporary comforts in a commentary on the evolution of sleep, a vital human need that remains the same despite the objects accommodating it changing throughout time. The piece highlights the dichotomy between our primitive nature and our constant search for comfort.

Vases (2022) by Bertrand Fompeyrine

French designer and photographer Bertrand Fompeyrine’s Vases series combines sand gathered from his own personal travels with polystyrene waste found on streets and construction sites. By layering these materials together, he repurposes this discarded matter while emphasizing its potential for creating a diverse variety of textures and colors. Instead of believing in limitless resources, Fompeyrine focuses on creative boundaries and the constraints they impose, sparking innovation and generating contrasting sensory experiences through the blending of natural versus artificial materials.

Mass (2022) by Odd Matter

Designed by Rotterdam-based design studio Odd Matter, founded by Els Woldhek and Georgi Manassiev, Mass is a series of shelves that explore an artificial world through natural materials, prompting an examination of traditional design and the potential for new possibilities. By blending together cork granulate and alpha crystalline gypsum, the soft texture of the cork interacts with gypsum’s resilience, giving rise to new structures that mimic natural formations. By highlighting the organic physical properties of cork granulate, the artists adapt an unconventional material to an everyday object to create a novel design.

Latent Longing (2021) by Misha Kahn

American designer Misha Kahn’s Latent Longing is formed from conjoined elements of amorphic stained glass and metal frames, producing clusters of metaphorical microorganisms or dividing cells, evoking growth. Kahn’s unconventional approach and abstract shapes take the millennia-old technique of stained glass and anchor it within a contemporary practice, both methodologically and conceptually.

Scary Vase (2022) by Faye Hadfield

From British ceramicist Faye Hadfield, Scary Vase manifests an intriguingly eerie aspect into an otherwise simple household object with its uncanny visage. While traditional in form, its complex and colorful gilded design recalls both the Baroque and Rococo styles of the 17th and 18th centuries. With sharp teeth and hollow eye-sockets, this modern day grotesque piece appears as if it’s straight out of a gothic horror tale, instantly provoking a sense of intrigue and uncanniness, inviting the viewer to step beyond the confines of their comfort zone and engage emotionally with the strange subject.

Ova (2023) by Studio Yellowdot

The Ova series by multidisciplinary design studio Yellowdot, founded by Dilara Kan Hon and Bodin Hon, and based between Istanbul and Hong Kong, is a visual ode to the vivid colors and striking patterns of nature. Inspired by budding flowers and the bright pink egg clusters of apple snails, this cabinet reflects the vitality, fertility and creativity of nature, embodied in its brightly colored, hand-woven semi-silk fabric—colloquially known in Turkey as ‘kutnu’—that has been woven and dyed using the same techniques that have been in use since the 16th century. Once used in Ottoman palace furniture and garments, the material has been handsewn by local artisans into more than 500 individual shapes and then upholstered to completely cover the cabinet’s walls.

Chasing Wild Goats (2024) by Guido Cassaretto

In Chasing Wild Goats, Turkish artist Guido Casaretto replicates the carved symbols and shelter creations practices of Neolithic hunter-gatherers found at archeological sites around Karahan Tepe and Çatalhöyük. Although the meanings of some of these symbols emulated on the piece’s brickwork are obscure today, others clearly illustrate various universal icons: the Sun, animals, waterways, handprints, and constellations. These hundreds of visual markers—created by primitive communities, long before the advent of writing—are reinterpreted today as methods of note-taking, transmitting information to future generations.

Pillow Pillow (2019) by Schimmel & Schweikle

Produced by Schimmel & Schweikle—founded by Janne Schimmel and Moreno Schweikle, who both live and work between the Netherlands, Germany and Belgium—the Pillow Pillow series consists of pieces designed with 3D modeling programs and then transformed into tangible objects using wood and faux fur, alongside other materials, to create textural contrasts between sharp lines and soft upholstery. Despite the deeply ingrained use of contemporary technology in their creation, the works appear very organic in their execution. Their designs evoke images of wild plants or mosses that assimilate man-made objects, suggesting the gradual proliferation and ultimate supremacy of nature over modernity, or even humanity.

11 Dazzling Displays Spotted At Public Art Abu Dhabi Biennial

Public Art Abu Dhabi Biennial (PAAD), a brand new showcase of public artworks and interventions taking place across the city and its surroundings, kicked off in mid-November with an array of interactive installations. Running through April 30, 2025, the mission of PAAD is to remake the familiar urban landscapes of Abu Dhabi into a platform that encourages creative expression and public engagement, in line with a national commitment to bolster arts and culture as a driver of economic and social development.

“Over the years, Abu Dhabi has witnessed an unprecedented surge in its cultural endeavors, building on decades of cultural prosperity and institutionalization,” says Rita Aoun, executive director of the Culture Sector, Department of Culture and Tourism, Abu Dhabi. “[This Biennial will further] establish the emirate as a vibrant centre for artistic and creative exchange,” she continues. “With initiatives like this, we celebrate artistic achievements, strengthen the foundation for Abu Dhabi’s cultural future, and contribute to the Emirates’s vision of cultural sustainability.”

Featuring works devised by over 70 distinctive local and international artists and designers, take a look at our top picks from the Public Art Abu Dhabi Biennial.

Delve Into Key Works From The Public Art Abu Dhabi Biennial

1. Wsh Wsh / The Conversation (flows) by Lawrence Abu Hamdan

Based in Beirut, Lawrence Abu Hamdan is an artist, activist, and researcher who specializes in combining contemporary art and the exploration of sound. His commissioned work for PAAD, titled ‘Wsh Wsh,’ takes the form of fifteen different sculptural interventions placed within the public fountains. Water-driven instruments create a soft, gentle procession of percussion, giving a new tangibility to the organic pulse of the public spaces and underpasses that surround the Abu Dhabi Chamber of Commerce and Industry. This is then complemented by an art film, The Conversation (flows), shot by Abu Hamdan on location, which captures fragments of dialogue partially obscured by the acoustics of the sculptures.

2. Floating Fragments by Seema Nusrat

Pakistani visual artist Seema Nusrat draws inspiration from the vibrant urban environments of her home country, unpacking the complex bonds between people and their environment. Her ‘Floating Fragments’ installation, partially submerged in the eponymous waters of Abu Dhabi’s Lake Park, is a response to the increased risks of flooding brought about by climate change. Taking the form of traditional clay roofing tiles, the sunken structure reference the dangers that urbanization and modernization pose to cultural heritage, compelling viewers to consider the need for balance between development and preservation.

3. You Were There Abu Dhabi by Yeesookyung

A multidisciplinary artist and sculptor from South Korea, Yeesookyung is well-known for her investigations of various cultures and belief systems through her works. For PAAD, she has created ‘You Were There Abu Dhabi,’ a continuation of her ongoing ‘You Were There’ series. Based on an AI-generated image of “a rock on top of the highest mountain of the world,” Yeesookyung 3D-printed a pair of sculptures and coated them in 24 karat gold leaf, illuminating every textural detail and symbolizing a spiritual transformation. An accompanying video—featuring performances of traditional, non-lyrical songs—sees Korean singer Kim Tae Young bless the sculptures before their journey to Abu Dhabi, before Emirati singer Saif Al Ali welcomes them.

4. Barzakh by Wael Al Awar

Architect and co-founder of the Dubai and Tokyo-based studio waiwai, Wael Al Awar’s design practice seeks sustainable solutions by recontextualizing waste materials as useful resources. His ‘Barzakh’ installation, located on Abu Dhabi’s iconic Corniche, responds to local and global environmental challenges by transforming recycled plastic, palm fibers and brine into modular elements that combine to form a lightweight, dismantlable shelter. The name ‘Barzakh’ invokes a boundary or liminal space, asking viewers to engage with how these materials and processes may shape the architectural future of Abu Dhabi by proposing a new way of utilizing local materials.

5. A 1% offering: collective messages to our ancestors by Oscar Murillo

Colombian artist Oscar Murillo’s PAAD piece—titled ‘A 1% offering: collective messages to our ancestors’—is a collaborative mural painting that covers one-percent of Abu Dhabi’s Corniche in large, black linen sheets. Reflecting upon notions of immigration and struggle, this immense installation symbolizes Abu Dhabi’s historical connection to the sea and the rapid pace of the Emirates’s urban development.

6. We trapped us in a frame, in the earth: Reflections on a surface by Radhika Khimji

‘We trapped us in a frame, in the earth: Reflections on a surface,’ created for PAAD by Omani artist Radhika Khimji, depicts a mountainous landscape that has been screen-printed onto canvas and then mounted on a wooden billboard, similar to those used to screen construction sites from public view. Rather than simply showing a static image, the embedded mirrors reflect the urban environment of Abu Dhabi around the work, bringing together the past, the present, and the speculative possibilities of the future through the work.

7. Urban River by Kader Attia

Algerian-French artist Kader Attia’s artistic practice explores the interlinked notions of injury and repair, using them to explore the legacies of imperialism and colonialism. Composed of a trio of stainless steel frames, his ‘Urban River’ installation replicates cracks found in the roads and pavements of contemporary urban environments—a representation of the impermanent, imperfect nature of man-made structures. When reoriented vertically, these cracks present the viewer with a map of the overlooked erosion always present in their artificial environment, leading the eye away from the ground and upwards, towards the sky.

8. Where Lies My Carpet Is Thy Home by Christopher Joshua Benton

A collaborative, large-scale intervention led by American artist Christopher Joshua Benton, ‘Where Lies My Carpet Is Thy Home’ was developed by Benton in collaboration with the immigrant merchants of Abu Dhabi’s Carpet Souk, threading together their personal anecdotes and stories of home into a colorful tapestry of diverse narratives. A reinterpretation of the Afghan war carpets of the 1980s, woven together with an 8-bit pixel art style, the piece offers both visitors and residents an opportunity to reflect upon the experiences of those coming to the emirate in search of new opportunities.

9. Homesickness by Farah Al Qasimi

Emirati multidisciplinary artist Farah Al Qasimi’s ‘Homesickness’ PAAD commission presents viewers with a physical and auditory representation of Abu Dhabi’s traditional pearl trade—a legacy that shaped both the culture and the economy of the Emirates for generations. Composed of five large-scale oyster statues arranged in a circle, each sculpture hides built-in speakers that play a choral composition, also created by the artist, inspired by a traditional song once sung by the wives of pearl divers. Combined with the iridescent interiors and gently shifting LED lights of the shell structures, Al Qasimi infuses an icon of her country’s history with modern technology, transforming it into a contemporary, multi-sensory experience.

10. My Courtyard by Azza Al Qubaisi

Widely recognized as a UAE jewelry artist, Azza Al Qubaisi blends metal and natural materials to create her art, combining elements of traditional craftsmanship with modern-day sensibilities. For PAAD, she has created ‘My Courtyard,’ a group of semi-enclosed, pod-like shelters that provide comfort, shade and respite to passersby traveling between the Emirates Post and the Madinat Zayed Shopping Centre. The walls are formed from mild steel, with their organic shapes inspired by those of undulating sand dunes and ocean waves, while the grass flooring separates the peaceful environment inside from the urban sprawl outside.

11. Clearing by Athar Jaber

Second-generation Iraqi artist Athar Jaber uses traditional sculpture techniques as a means to engage with material, cultural, and architectural significance of stone with the context of human development across time. This practice is very much embodied in his ‘Clearing’ piece, which centers upon an anthropomorphic channel carved through a monolithic chunk of regional limestone, literally symbolizing the relationship between the material and humanity, while also ruminating on ideas of presence and absence.

The Design of Beirut’s Sippy Cup Entices All Ages

Inspired by the innocent imagination of children, Sippy Cup is a collective space for young and old alike. This exciting and vibrant coffee shop–located in the heart of Beirut, Lebanon, boasts a colorful interior designed by Delphine Gebran Interior Architect; a vibrant canvas on which every child’s creativity is not only acknowledged, but forms an integral part of the design.

“Seeing children’s faces light up as they explore and interact with the space is the ultimate reward,” interior architect Delphine Gebran tells Interior Design. “The joy and excitement they express validate all the hard work and creative thought put into the project.”

Bright, cheerful colors and soft shapes play an essential part in creating Sippy Cup’s interior design. While a departure from Gebran’s typical style, they lend the space a unique energy and liveliness, drawing on her own experiences as a mother of two.

“My children were the heart and soul of this project,” Gerbran explains. “Their drawings, paintings and doodles–bursting with vibrant colors and whimsical shapes—became the foundation for many of the design elements.”

“Children are naturally curious and love to explore their surroundings,” she continues. “This project was designed with that in mind, incorporating interactive elements that invite children to touch, feel, and engage with their environment.”

This philosophy even extends to the decorations. The walls are adorned with custom-made, perforated wooden panels that allow young guests to craft their own visual narratives through the interplay of shapes, evoking distinct emotions and influencing the viewers’ responses. These interactive elements allow children to play close to their parents.

From the height and stability of interactive installations to eliminating sharp edges or pinch points, everything has been assessed and tested to make sure children can enjoy their activities safely. Families are already sharing how much they love Sippy Cup, and it is quickly becoming a favorite spot for outings and playdates.

At Sippy Cup, Coffee Meets Cozy Moments For All Ages

In Beirut, the Beit Tamanna Guesthouse Brings Dreams to Life

In Beirut’s iconic Gemmayzeh Street, housed within a traditional Lebanese heritage home, Beit Tamanna invites guests to experience breathtaking contemporary design—for a good cause—in the heart of Lebanon’s capital. Tamanna, an NGO that grants wishes of critically ill children, previously had rented space in their offices to raise funds, rather than rely on donations. However, recent events in Lebanon threatened to end their work, prompting a radical solution.

“[We] have witnessed one unprecedented crisis after another,” Diala El Fil, founder of Tamanna and Beit Tamanna, tells Interior Design. “Tamanna’s funds vanished. Coronavirus came, and then the explosion on August 4 [2020]. We needed to ensure viability of the organization to fulfill wishes. This is where the idea came from. It was very hard work, but the final result is really full of love. It’s magical how it all works together.”

A Design Project With a Mission to Help Critically Ill Children 

Over a dozen designers and architects lent their talents to the project, creating eight guest rooms, as well as common spaces. Inspired by childlike fantasy, every room has been brought to life by the generous contributions of over 50 donors, suppliers and producers who provided funds, furniture, and materials free of charge.

Nature Inspires the Aesthetic Throughout Beit Tamanna 

Gregory Gatserelia’s ‘Meshwar’ suite—meaning journey in Arabic—is a particular standout, decorated with bespoke furnishings created using items saved from Gatserelia’s damaged gallery following the 2020 Beirut Port explosion. “I selected elements that expressed the mood from a painful episode to create something pleasant and beautiful that symbolizes the resilience of the people of Beirut,” he explains.

Nada Debs’s ‘Urban Forest’ features a balcony overlooking Gemmayzeh, blurring the line between her escapist fantasy of nature and the history of Lebanese artisanship. “I wanted to incorporate different craft techniques in this room,” says Debs. “You see some mother-of-pearl on the headboard; you see some hand-carving for the bedside tables. The wall cabinet is actually made of the broken pieces of [our studio’s] window frames. That’s a very precious piece, because it’s holds the memory of the blast, but also how we can move forward.”

Bokja’s ‘The Hills are Alive’ bedroom contrasts colorful flowers and landscapes with stark white, evoking a blank canvass on which beautiful ideas can grow. “Being part of this beautiful initiative to fulfill the wishes of Tamanna’s children across Lebanon is a pleasure,” says Bokja cofounder Huda Baroudi. “Working within an authentic Lebanese heritage house, blending modern and traditional design, allows for a celebration of Lebanon’s rich cultural heritage and vibrant design scene, all while making a positive impact on the community.”

Other contributors include Maria Ousseimi, Georges Mohasseb, Rola Vincent, Rania Cortbawi, Marc Dibeh, Samer Al Ameen, Hania Rayess, Maya Barbir, Antoine Asmar and Elie Abs.

All the money raised by Beit Tamanna goes directly towards ensuring that more children see their dreams come true. Learn more about Beit Tamanna here.

Experience the Whimsical Designs in the Beit Tamanna Guesthouse

Jean Boghossian Unveils New Collection of Artworks in Monaco

This month sees the launch of the Monte-Carlo Société des Bains de Mer’s spring season, “The Sea is Green”, featuring a spectacular new multidisciplinary art exhibition from Belgian-Lebanese artist Jean Boghossian, inspired by his passion for marine conservation and the natural beauty of the oceans.

Boghossian is a painter and sculptor, as well as a former jewelry designer, who is well-known for his experimental artistic practice, most notably using fire on different materials. Hosted by the Hôtel Hermitage Monte-Carlo, the majority of his new exhibition consists of handmade ceramics, incorporating seashells and gemstones into his playful, organic forms.

Elsewhere, a series of painted flags decorate the quays of Monte Carlo, displaying printed reproductions of works Boghossian had previously created by painting on decommissioned sailcloth, as a commentary on sustainability and ecological preservation.

“I bought [the sails] and painted on them,” Boghossian explains, “but—[when] I saw the masts—I realized I could not hang them, because the mast is too light and they had become heavy with paint, so I decided to print them, so that they [can] appear there.”

“As much as I decide [something] is exactly what I want once it’s finished,” he says. “I don’t control every aspect of it. It’s an evolution [between] my decisions and the hazard.”

A Closer Look at Jean Boghossian’s Latest Works

10 Questions With… Nadine Roufael

An Interview with Lebanese Designer Nadine Roufael

Interior Design: Nadine, where does your story begin?

Nadine Roufael: I studied at Lebanese University as an interior architect, working in furniture. I actually did my placement at my husband’s office. Okay, it wasn’t like that right at the beginning. At first, he was my boss, but after two years—when I was presenting my diploma thesis—we were engaged. He’s been my support and everything in my life.

We opened a furniture showroom together. He has his office for interior architecture, and I worked with many high-end Italian brands, for many years. I did a lot of exhibitions like Milan and other worldwide fairs. And I’m still working, but I closed the showroom because it took all my time. I still have my clients, but now we work from our office on a catalogue because this way it’s less expensive for them. When I closed my showroom, I had more time for myself.

ID: Where did your interest in ceramics first come from?

NR: When I decided to work in ceramics, it started as a hobby. It was like a therapy for me. It makes me feel relaxed. I started in my house in a small room. You know, there is a lot of history tied to the use of therapeutic ceramics. I think it’s worldwide, not only in Lebanon. And it helps a lot. It’s like yoga. It’s a calm activity.

I feel that I can create a lot of experiences with sculptures, placing different materials together. I’ll spend all my day in my paradise, experimenting with colors, playing with material.

ID: Can you talk about the collection you’re showing at MENART Fair?

NR: For MENART Fair, it’s really a combination of works between my husband and myself—his furniture and my sculptures. We created a nice, colorful space. My collection reflects joy. I hate when we say that we are from Lebanon and we have to show them miserable life in our art. Sometimes, people have messages to send and they send it through their art – I can understand those who create their art to project this image of Lebanon, but I myself don’t want to send this message. That’s not me. I’m very positive. I’m always very positive. I like colors. I enjoy colors, so this is why I created a collection full of colors. I feel it gives happiness, and it’s better to send a message of beauty and happiness.

I like organic forms especially but, with each piece, I wanted to introduce a new color on it, but I’m minimalist—I wanted to keep the piece as it, with the new color coming from somewhere else. I wanted rounded shapes and something going out from the rounded shape. This is why I created extra volume on each piece and—on this extra volume—I added my new colors.

ID: You touched on avoiding ‘misery.’ Where do you find inspiration?

NR: I stopped the news in my house. I won’t look at the television. People know everything about Lebanon, and they know the situation. There’s no need for me to send those messages through my work. I keep this for my collaborations with the NGOs because it’s really depressing for me as an artist, trying to create something beautiful, so I keep myself away a little bit. Maybe it’s selfish, but this is how I want to work. This is the way I survive. I don’t want to be inspired by negative vibes, so this is why I surround myself with nature. I look around me and I see the shapes of the mountains and the trees. I do a lot of research, looking at images from nature, under the sea.

In the beginning, I put some fruits together and I based my ceramics on the fruit. I used the melon; the orange; the avocado; the mango. Even the coronavirus inspired me a lot, actually—specifically the form of the virus. When they were talking about coronavirus in the news and so on, they would show it in beautiful colors and light, rather than something ugly to see. I saw the beautiful side of the structure. This is why I try to find, in everything; this window of happiness.

ID: Is this similar to your philosophy when designing furniture?

NR: I change my mind often. I’m still discovering myself, so sometimes I like the straight lines and hard angles, and sometimes I go to rounds. I’m still not sure if I want to continue with round shapes. For now, I like to work with organic shapes, but I don’t know if maybe later on I will discover something else that I like more.

I don’t like it when they say that an artist should be always like the same thing—to have to continue on this one path. I don’t think so. I think art is found in evolution, so I need to experiment with many forms. I don’t want to stop myself by sticking to this or that design – I feel that I’m always discovering.

ID: You’ve mentioned your husband a few times, do you often collaborate? 

NR: In my family, we are all artistic in some way. My son is a filmmaker. Sometimes I ask him for his opinion about something—or my husband. We do collaborate on furniture design, and sometimes also he gives me his opinion on colors, forms, whether he likes the structure or not.

ID: Do you work with anyone else when you are creating these pieces?

NR: I do everything by myself, independently. My work is all my own from A to Z. It’s amazing. I do a lot of experimentation with colors, playing with the material. I use many different kinds of clay. Sometimes, I imagine some forms that are really difficult to execute in reality, but I enjoy the challenge of it. I’ll keep working on the same form until I can get it to do what I want.

It’s quite funny actually. Where I live, so many people pass me by in my day and ask me about the clay and so on, so I started offering workshops for a few ladies. After this, I received a lot more requests! Many ladies want to try it and learn how they can make their own ceramics. Now, every week, I have four classes. For them, it’s therapy. Some people go to a spa. Some people like to travel. They—and I—like to work with the clay. This is a need in every person, no matter where they come from or what their situation is.

ID: How did you learn the ceramics craft then?

NR: You can find many people that love working with ceramics now, but very few who teach. I taught myself a lot of things. I did it all through online courses and a lot of workshops, both in Lebanon and outside. I am very curious. A lot of it, like the glazing technique, is just chemistry when you really break it down. It’s all very interesting.

At the same time though, you need to create your own kind of signature glazes and colours, to define your own work and to be different from the others. I’ve always thought that I’d like to leave something that my boys—when they are grown up and I leave this life—will be able to say: ‘this is a piece of art from my mum.’ This is what I focus on, all the time.

ID: Would you encourage other creatives to try new mediums? 

NR: Yes! I feel that some artists start to lose their creativity because they are doing same things. When you work with art galleries, they oblige you to always create your work along the same lines, so they are just repeating themselves. I don’t want to work like that. I believe that every artist should try to do sometimes different with each collection—a new material, or new colors. They will open the door for so many new inspirations.

ID: What does the future hold for you and your sculptures?

NR: I want to gain more experience and experiment more with colors and forms. You can never stop trying new things. I started in the Middle East and now I’ve just had my first exhibition in Europe, so I would like to go further and find more exposure in Europe and also in the U.S.

My next project, I think, is to collaborate with more artists from Europe. I like the cooperation and the teamwork. It’s really valuable to have the chance to learn different ways to work from different artists. In my first exhibition, people in Dubai told me that—while they liked the pieces—I should have used more colors. In Brussels, I felt that people preferred the natural color of the materials. When you feel that people want something different, you try to change your art because, if you want to be well known worldwide, you need to try many things, but you don’t know what people will like. Some people like color, while others prefer black. You do the revolution for yourself. Sometimes, you feel that you have to create something different. Maybe, for my new collection, I will do a fusion of natural stone with something colorful.