James Clar’s work is an analysis and observation on the affects of media and technology on our perception of culture, nationality, and identity. His interest is in new technology and production processes, using them as a medium, while analyzing and critiquing their modifying affects on human behavior. His work Cell Division are two spherical tensigrity structures are connected and mirror each other, recreating the moment of cell division through geometric, structural lighting.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Esparaza’s drawings are essentially about transformation — about history that is used in order to construct a new form. They are also about a diffusion of color and the expansion of space. The side-by-side forms create a dialogue while revealing the repetitive process of distance traveled. Craft making for Esparaza is a mental exploration and exercise. He approaches found objects with a kind of assertiveness and attempt to re-instill a kind of lost value. The fact that the objects he uses stem from pop culture indicates his sensitivity to visual stimulation.  His Sarape series were instillations made of thread of the actual cloth. He initially attempted to create a painting without paint; it revealed line in the midst of a grid, the same grid that once defined the location of ancient pyramids, contributed to the structure of modernism and now ruled the realm of the pixel. The forms began to become more complicated, and were inspired by architecture and landscape.

Amighi sculptures borrow its forms from religious architecture found in Medieval times in Europe; from jewelry, specifically the crown used by ruling monarchs at the time; and from various medieval torture devices found in Spain and England. The work is an attempt to fuse the latter objects into one, to begin a conversation about the links between the abuse of religion and state power.  The steel frames create a skeletal aesthetic to the sculptures, lending an almost ominous conclusion to this discourse: an impending intention of conquest and violence.

Space to Sultana seems relational, a field emerging as a result of matter and its parts, in the movement or weight of its fragments, not necessarily marked by a beginning or an end but a structure or a space that never ends – the periphery.The graphite drawings present configurations and arrangements of geometric shapes and spatial structures, in a frame-by- frame progression of image and time, once again bringing forth her interest in the visual understanding of continuation, direction and possibly a form of meditative infinity

From start to finish, Gebran Tarazi’s body of work hinges on geometric abstraction, musical fugue, combinatorial mathematics, and symbolic meaningfulness. During 15 years, he explores all possible variations and permutations of one single motif: four oblong rectangles revolving around a central square, an ancient theme recurrent in Arab-Islamic art called “Kayem Nayem”. Gebran Tarazi radically renews its handling by way of strict mathematical means and chromatic inventiveness, building up in the process a body of work of such compelling coherence and consistency that his individual paintings and mixed media may be regarded as virtuoso components of one and the same fascinating multi-faceted opus magnum.

From start to finish, Gebran Tarazi’s body of work hinges on geometric abstraction, musical fugue, combinatorial mathematics, and symbolic meaningfulness. During 15 years, he explores all possible variations and permutations of one single motif: four oblong rectangles revolving around a central square, an ancient theme recurrent in Arab-Islamic art called “Kayem Nayem”. Gebran Tarazi radically renews its handling by way of strict mathematical means and chromatic inventiveness, building up in the process a body of work of such compelling coherence and consistency that his individual paintings and mixed media may be regarded as virtuoso components of one and the same fascinating multi-faceted opus magnum.

Day continues to develop his interest in geometric figures and solids, to further speculate about illusion and reality. His interest and fascination with science, Western and Oriental philosophy and religion have always been central to the artist’s work, alongside the use of different techniques, media and papers (Chinese, Indian and European) ranging from 17th to 20th century. His work is centered on geometric shapes that were considered by the ancient Greeks to be the basic building blocks of the universe. 2,500 years and numerous eccentric theories later, these archaic geometrical shapes appear now clearly as simple facts of symmetry in space; as human inventions, unattainable exactly in nature, no longer symbolic or archetypal. They also cleverly- and ironically - reference one of the basis of Plato’s philosophy: the idea that what we see is merely a reflection of an ideal world that is only realizable via our intellect

Gülay SemercioÄŸlu’s signature style involves carefully looping thin, coloured, enamel coated silver wire around a series of small screws that have been precisely laid out across a firm wooden backing frame. This filament, only slightly thicker than a human hair, is repeatedly interwoven and overlapped and then pulled taut, resulting in a rigid metallic mesh. The thinness of the wire and the density of the overlapping layers mean that from a distance the surfaces appear like shimmering, glossy blocks of smooth colour, while up close the viewer witnesses fluctuating tonal modulations as light is reflected and refracted from each individual strand.

At·man  (ät′mÉ™n)
n. Hinduism [Sanskrit]

1.  The individual soul or essence

2. The essence that is eternal, unchanging, and indistinguishable from the essence of the universe.

The monochromatic imagery is both specific and ambiguous--- the forms are familiar in their reference to Fractal Art and Islamic geometry, but made of segmented self-portraits of the artist: an arm, a hand. The works are a phenomenological investigation into the innate connectedness of existence. The viewer recognizes themselves in the artwork, and themselves in the fundamental components of nature and vise versa.

At·man  (ät′mÉ™n)
n. Hinduism [Sanskrit]

1.  The individual soul or essence

2. The essence that is eternal, unchanging, and indistinguishable from the essence of the universe.

The monochromatic imagery is both specific and ambiguous--- the forms are familiar in their reference to Fractal Art and Islamic geometry, but made of segmented self-portraits of the artist: an arm, a hand. The works are a phenomenological investigation into the innate connectedness of existence. The viewer recognizes themselves in the artwork, and themselves in the fundamental components of nature and vise versa.

Exploring the relationship between music and geometry, A Hidden Order is the culmination of several years of collaboration between composer Lee Westwood and geometer Sama Mara. The resulting system is rooted in the same principles as those of the great geometric artwork of the Islamic cultures of the past, as well drawing upon contemporary studies such as fractal geometry and non-periodic tilings.

Number and ratio, the root principles that govern the rhythm and pitch of music, are also the foundation of geometric art: pattern and colour. A new theory discovered by Sama Mara reveals an intrinsic relationship between these fundamental laws of harmony of sound and space, enabling music to be embodied as visual patterns and, in turn, imagery to be deciphered as music. And so, a hidden order is revealed.

Exploring the relationship between music and geometry, A Hidden Order is the culmination of several years of collaboration between composer Lee Westwood and geometer Sama Mara. The resulting system is rooted in the same principles as those of the great geometric artwork of the Islamic cultures of the past, as well drawing upon contemporary studies such as fractal geometry and non-periodic tilings.

Number and ratio, the root principles that govern the rhythm and pitch of music, are also the foundation of geometric art: pattern and colour. A new theory discovered by Sama Mara reveals an intrinsic relationship between these fundamental laws of harmony of sound and space, enabling music to be embodied as visual patterns and, in turn, imagery to be deciphered as music. And so, a hidden order is revealed.

Exploring the relationship between music and geometry, A Hidden Order is the culmination of several years of collaboration between composer Lee Westwood and geometer Sama Mara. The resulting system is rooted in the same principles as those of the great geometric artwork of the Islamic cultures of the past, as well drawing upon contemporary studies such as fractal geometry and non-periodic tilings.

Number and ratio, the root principles that govern the rhythm and pitch of music, are also the foundation of geometric art: pattern and colour. A new theory discovered by Sama Mara reveals an intrinsic relationship between these fundamental laws of harmony of sound and space, enabling music to be embodied as visual patterns and, in turn, imagery to be deciphered as music. And so, a hidden order is revealed.

Inspired by Brazilian modernist art and architecture, Azambuja transforms urban elements such as street furniture, sidewalks, and buildings, to uncover hidden yet existing abstract patterns and geometric wonders using everyday materials such as adhesive tape, bricks, glass panes, or the stroke of a pen. With the slightest abstraction of the real world, his two- and three-dimensional renderings turn our attention toward what has always been present in these architectural giants and urban infrastructures, and allows for a kind of rediscovery and restored awe of the familiar or often mundane.

Exploring the relationship between music and geometry, A Hidden Order is the culmination of several years of collaboration between composer Lee Westwood and geometer Sama Mara. The resulting system is rooted in the same principles as those of the great geometric artwork of the Islamic cultures of the past, as well drawing upon contemporary studies such as fractal geometry and non-periodic tilings.

Number and ratio, the root principles that govern the rhythm and pitch of music, are also the foundation of geometric art: pattern and colour. A new theory discovered by Sama Mara reveals an intrinsic relationship between these fundamental laws of harmony of sound and space, enabling music to be embodied as visual patterns and, in turn, imagery to be deciphered as music. And so, a hidden order is revealed.

Inspired by Brazilian modernist art and architecture, Azambuja transforms urban elements such as street furniture, sidewalks, and buildings, to uncover hidden yet existing abstract patterns and geometric wonders using everyday materials such as adhesive tape, bricks, glass panes, or the stroke of a pen. With the slightest abstraction of the real world, his two- and three-dimensional renderings turn our attention toward what has always been present in these architectural giants and urban infrastructures, and allows for a kind of rediscovery and restored awe of the familiar or often mundane.

In 2011, Mounir Fatmi began working on a series of collages titled Labyrinth, which are made using cut out pieces of Muslim prayer rugs. In the six collages that form this ongoing series there is a strong architectural aesthetic with elements that suggest pediments, columns, floor plans, or ornamentation, yet each work is quite visually distinct from the other. The collages in the Labyrinth series are visually engaging and dynamic, full of twists and turns, and hidden meanings. There is an urge to try and read them, find our way through the layered composition but there is no certain ending, no obvious meaning. Better then to appreciate their beauty, their structure, and wonder what lies within.

The principal theme in Monir’s art practice of is correlating mysticism with numerology. Islamic geometry and architecture remains a quintessential feature within her work.

Her drawings in felt marker and pen and ink, layering works of coloured lines traces structures of nomadic tents, minarets and models of architectural sculptures. Employing techniques from her Iranian heritage that date back to the sixteenth century, Monir chooses to return to the origins of abstraction and theology, and moves beyond the craft to present a modern interpretation of both the medium and the content.

Monir presents a masterful balance of meticulous craft and contemporary abstraction that utilizes an interaction of surface texture, light and reflection, colour and form.

The principal theme in Monir’s art practice of is correlating mysticism with numerology. Islamic geometry and architecture remains a quintessential feature within her work.

Her drawings in felt marker and pen and ink, layering works of coloured lines traces structures of nomadic tents, minarets and models of architectural sculptures. Employing techniques from her Iranian heritage that date back to the sixteenth century, Monir chooses to return to the origins of abstraction and theology, and moves beyond the craft to present a modern interpretation of both the medium and the content.

Monir presents a masterful balance of meticulous craft and contemporary abstraction that utilizes an interaction of surface texture, light and reflection, colour and form.

Mujahidin’s visual ornamentations are created from cut paper. The shape of an F-16 jet fighter is replicated and arranged in a circular form, interspersed with cut up lines, to form geometric patterns and motifs. Meanwhile, the layers and application of colors help to add to the nuances of each arabesque ornament—simultaneously beautiful and meaningful, referring to a camouflage of violence so well intertwined and interweaved inside an image of beauty. Certainly, Mujahidin's works can be linked to the wars and battles being fought in the Middle East, as well as touching upon the question of living in a social and religious environment in Indonesia. 

Mujahidin’s visual ornamentations are created from cut paper. The shape of an F-16 jet fighter is replicated and arranged in a circular form, interspersed with cut up lines, to form geometric patterns and motifs. Meanwhile, the layers and application of colors help to add to the nuances of each arabesque ornament—simultaneously beautiful and meaningful, referring to a camouflage of violence so well intertwined and interweaved inside an image of beauty. Certainly, Mujahidin's works can be linked to the wars and battles being fought in the Middle East, as well as touching upon the question of living in a social and religious environment in Indonesia. 

The use of pattern is a dominant element almost always present in Hashemi’s work. The complex bands of repetitive, brightly coloured shapes occupying the minute 1 mm x 1 mm squares of graph paper in her Home and Carpet series, in which she uses pattern in its many varying forms as both literal and abstract manifestations of the influence of environment and tradition.

In this series, she uses graph paper to experiment with more abstract, geometric compositions. Despite this new direction, the central themes of the artist’s work remain. Her preoccupation with the familial routines and habits that she has grown up with are always evident in her work, they reflect a conflicted sense of belonging and detachment, nostalgia and uneasiness, comfort and entrapment.

The use of pattern is a dominant element almost always present in Hashemi’s work. The complex bands of repetitive, brightly coloured shapes occupying the minute 1 mm x 1 mm squares of graph paper in her Home and Carpet series, in which she uses pattern in its many varying forms as both literal and abstract manifestations of the influence of environment and tradition.

In this series, she uses graph paper to experiment with more abstract, geometric compositions. Despite this new direction, the central themes of the artist’s work remain. Her preoccupation with the familial routines and habits that she has grown up with are always evident in her work, they reflect a conflicted sense of belonging and detachment, nostalgia and uneasiness, comfort and entrapment.

The use of pattern is a dominant element almost always present in Hashemi’s work. The complex bands of repetitive, brightly coloured shapes occupying the minute 1 mm x 1 mm squares of graph paper in her Home and Carpet series, in which she uses pattern in its many varying forms as both literal and abstract manifestations of the influence of environment and tradition.

In this series, she uses graph paper to experiment with more abstract, geometric compositions. Despite this new direction, the central themes of the artist’s work remain. Her preoccupation with the familial routines and habits that she has grown up with are always evident in her work, they reflect a conflicted sense of belonging and detachment, nostalgia and uneasiness, comfort and entrapment.

Nadia Khawaja uses points, lines and shapes that take off from primal elements; sun, moon, wind, water, fire, hair, heartbeat, breath, footsteps, movement, and rhythm. She weaves these entities into complex forms, structures and fields that reflect conflicting, complimentary and playful relationships between fragment and whole, separation and integration, simplicity and complexity, presence and timelessness, perception and consciousness and human and universe. All the while developing a language at once abstract, poetic, symbolic, personal yet universal. She works mainly with drawing, also shaping her concepts through the medium of photography, as well as exploring her ideas in text and neon, all part of her new works.

Nadia Khawaja uses points, lines and shapes that take off from primal elements; sun, moon, wind, water, fire, hair, heartbeat, breath, footsteps, movement, and rhythm. She weaves these entities into complex forms, structures and fields that reflect conflicting, complimentary and playful relationships between fragment and whole, separation and integration, simplicity and complexity, presence and timelessness, perception and consciousness and human and universe. All the while developing a language at once abstract, poetic, symbolic, personal yet universal. She works mainly with drawing, also shaping her concepts through the medium of photography, as well as exploring her ideas in text and neon, all part of her new works.

Josef Albers, a founding member of the Bauhaus, was one of the most innovative printmakers of the twentieth century, making use of numerous print media, including etching, engraving, woodcut, lithography and screenprinting, from 1916 until his death in Connecticut in 1976.His early graphic works illustrate the development of the rigorous modernist aesthetic for which he became synonymous, as well as a fascination for the possibilities offered by the various techniques and materials of printmaking.

Josef Albers, a founding member of the Bauhaus, was one of the most innovative printmakers of the twentieth century, making use of numerous print media, including etching, engraving, woodcut, lithography and screenprinting, from 1916 until his death in Connecticut in 1976.His early graphic works illustrate the development of the rigorous modernist aesthetic for which he became synonymous, as well as a fascination for the possibilities offered by the various techniques and materials of printmaking.

Rasheed's geometric structures in which vertical and horizontal lines are held together by a network of diagonals (like the bracing struts used to strengthen latticed engineering constructions) play on the links between Eastern and Western thought and the frameworks of social institutions and aesthetics. Photographs overlaid by or held within these geometric structures, bring in the personal and psychological and relate the human individual to the social structure in which s/he exists.

Rasheed's geometric structures in which vertical and horizontal lines are held together by a network of diagonals (like the bracing struts used to strengthen latticed engineering constructions) play on the links between Eastern and Western thought and the frameworks of social institutions and aesthetics. Photographs overlaid by or held within these geometric structures, bring in the personal and psychological and relate the human individual to the social structure in which s/he exists.

Rasheed's geometric structures in which vertical and horizontal lines are held together by a network of diagonals (like the bracing struts used to strengthen latticed engineering constructions) play on the links between Eastern and Western thought and the frameworks of social institutions and aesthetics. Photographs overlaid by or held within these geometric structures, bring in the personal and psychological and relate the human individual to the social structure in which s/he exists.

Rasheed's geometric structures in which vertical and horizontal lines are held together by a network of diagonals (like the bracing struts used to strengthen latticed engineering constructions) play on the links between Eastern and Western thought and the frameworks of social institutions and aesthetics. Photographs overlaid by or held within these geometric structures, bring in the personal and psychological and relate the human individual to the social structure in which s/he exists.

Begum’s works draw inspiration from urban visual stimuli such as the abstract clashes of form and colour that can be seen in the city, and combines them with the traditional repetition of geometric form found in Islamic art. To view the work one is required to adjust their position for the work to unravel.  As you move, the work reveals a constant shifting symmetry of colour that ripples, brakes, and reforms before your eyes. It is in this visual movement that Begum creates a compelling visual language where by with the tiniest of movements the surrounding chaos aligns itself into a moment of symmetry..

This is a exploration of objects, from an object orientated ontology exploring the use of a traditional arabic drum,(taar) as an embroidery hoop. exploring tunes made as the needle perces its skin, applying traditional Islamic and arabic patterns in gold thread. a Fight in gender roles and powers of embroidery on a male dominant instrument. This work is a part of an ongoing series of exploring traditional objects from an ontological point of view. and how embellishments affect use and formulates questions around the effectiveness of traditional use.  

His work focuses on modes of shelter seen through the lens of the history of minimalism. Through his delicate sculptures, constructions, found objects and photographs, he evokes modes of living, and questions what modern society offers us as social solutions. Using an elegant language, his work makes poignant observations, often using architectural forms as his starting point. His work, A Place to Hide, proposes this fundamental ambiguity, without permitting any clear answers. One work may seem to offer an answer, but immediately another undoes this understanding. One group of images may convince one that this is a catalogue of a kind of humanity which pervades in crisis zones, but then another deals in details of utterly different kinds of habitable space, both public and private.

Ralf Ziervogel has made a name for himself with his obsessively detailed drawings of human bodies exposed to apocalyptic cruelties. His recent work continues the systematic approach of declinations. However, the theme of brutalities executed on human bodies seems to be abandoned or exposed to a process of abstraction. Composed of reduced mathematical formulas or a simplified code of letters – the graphic systems gradually dissolve into legible constellations. Using non-hierarchical orders based on numbers, dice dots, letters and figures, Ziervogel’s art has some parallels with the conceptual art Sol LeWitt pioneered in the late 1960s, with its serial processes and formulae.

Ralf Ziervogel has made a name for himself with his obsessively detailed drawings of human bodies exposed to apocalyptic cruelties. His recent work continues the systematic approach of declinations. However, the theme of brutalities executed on human bodies seems to be abandoned or exposed to a process of abstraction. Composed of reduced mathematical formulas or a simplified code of letters – the graphic systems gradually dissolve into legible constellations. Using non-hierarchical orders based on numbers, dice dots, letters and figures, Ziervogel’s art has some parallels with the conceptual art Sol LeWitt pioneered in the late 1960s, with its serial processes and formulae.

Sahand aspires to present geometry as sculpture itself, giving an independent structure to that which has been traditionally trapped on to the surface of others. Sahand explores the relationship between Iranian architecture and crafts, and their significant spiritual symbolism. For the Artist, the process of removing traditional architecture forms and transforming them into the freestanding sculptures explores endless possibilities of representing a new stylistic element of Islamic architecture. The purpose of following this method of expression is to discover new forms and variations as well as to present a contemporary interpretation of traditional Iranian geometrical shapes. 

Saba’s work deals with the pre-requisite of land to structure; of what the notion of land is; and what it means to belong to it. Although it directly references the Palestinian issue specifically, it also deals with the notion of alienation on a global level. This project considers the relationship of construction and land to time, to temporariness that gradually transforms- or deforms- into durability. It  imagines the possibility of structure without land; it attempts to redefine what land could mean, and how that would effect a new and over-due change in both politics and architecture.

Exploring the relationship between music and geometry, A Hidden Order is the culmination of several years of collaboration between composer Lee Westwood and geometer Sama Mara. The resulting system is rooted in the same principles as those of the great geometric artwork of the Islamic cultures of the past, as well drawing upon contemporary studies such as fractal geometry and non-periodic tilings.

Number and ratio, the root principles that govern the rhythm and pitch of music, are also the foundation of geometric art: pattern and colour. A new theory discovered by Sama Mara reveals an intrinsic relationship between these fundamental laws of harmony of sound and space, enabling music to be embodied as visual patterns and, in turn, imagery to be deciphered as music. And so, a hidden order is revealed.

Pirim’s designs are the product of a visual and conceptual counteraction regarding the multiplication of the singular and the imaginary singularity of the plural. This understanding of singularity, with a framework composed of a sterile, simplified abstract form that has almost left its natural references behind, is linked to the chain relation of the basic modular unit to other, reproduced modules based on its form. 

Within the whole there rests a massive singularity as a founding element, for certain, but this singularity is also the whole itself. A gaze at the whole is sufficient to reveal it. This gaze is also the shortest cut to see the design itself that exhibits its own full development from start to finish.

Pirim’s designs are the product of a visual and conceptual counteraction regarding the multiplication of the singular and the imaginary singularity of the plural. This understanding of singularity, with a framework composed of a sterile, simplified abstract form that has almost left its natural references behind, is linked to the chain relation of the basic modular unit to other, reproduced modules based on its form. 

Within the whole there rests a massive singularity as a founding element, for certain, but this singularity is also the whole itself. A gaze at the whole is sufficient to reveal it. This gaze is also the shortest cut to see the design itself that exhibits its own full development from start to finish.

Pirim’s designs are the product of a visual and conceptual counteraction regarding the multiplication of the singular and the imaginary singularity of the plural. This understanding of singularity, with a framework composed of a sterile, simplified abstract form that has almost left its natural references behind, is linked to the chain relation of the basic modular unit to other, reproduced modules based on its form. 

Within the whole there rests a massive singularity as a founding element, for certain, but this singularity is also the whole itself. A gaze at the whole is sufficient to reveal it. This gaze is also the shortest cut to see the design itself that exhibits its own full development from start to finish.

The piece is an interaction of human emotions; a depiction of human intimacy and vulnerability.  The geometric shapes tilt at a certain angular corner to represent the exchange of human emotions. A codependent interplay between humans willing to expose the truth hidden behind masks of ego and pride. The piece describes the process of having both trust and courage to reveal the nature of oneself; whether subdued, or vibrant.

The piece is an interaction of human emotions; a depiction of human intimacy and vulnerability.  The geometric shapes tilt at a certain angular corner to represent the exchange of human emotions. A codependent interplay between humans willing to expose the truth hidden behind masks of ego and pride. The piece describes the process of having both trust and courage to reveal the nature of oneself; whether subdued, or vibrant.

Seher Shah’s practice examines various architectural, historical and personal iconographies through their formal and visceral qualities. Working with drawings, sculpture and photographs her recent work investigates idealized modernist projects ranging from housing projects to utopian city plans by breaking down their components. Using the basic elements of architecture such as the wall, grid, and column her work examines the qualities of Brutalist architecture within the landscape. Working through concepts of construction and structural repetition her work examines the ambiguity of these objects within the landscape.

Seher Shah’s practice examines various architectural, historical and personal iconographies through their formal and visceral qualities. Working with drawings, sculpture and photographs her recent work investigates idealized modernist projects ranging from housing projects to utopian city plans by breaking down their components. Using the basic elements of architecture such as the wall, grid, and column her work examines the qualities of Brutalist architecture within the landscape. Working through concepts of construction and structural repetition her work examines the ambiguity of these objects within the landscape.

Nasseri’s new works appear to be scientific at first glance. The artist has created these sculptures and drawings, using formulas and models linguistically. Their components (lines, dots, curves, letters, numbers, and cartographic elements) are made clear and associated in a way that allows for a transparent understanding of the process of their execution and development without allowing a full rendering and aesthetic contemplation of a clear end result. These works play out scientific revelations, shaping his artistic practice while taking on new aspects as they become part of Nasseri’s visual and aesthetic experience

Nasseri’s new works appear to be scientific at first glance. The artist has created these sculptures and drawings, using formulas and models linguistically. Their components (lines, dots, curves, letters, numbers, and cartographic elements) are made clear and associated in a way that allows for a transparent understanding of the process of their execution and development without allowing a full rendering and aesthetic contemplation of a clear end result. These works play out scientific revelations, shaping his artistic practice while taking on new aspects as they become part of Nasseri’s visual and aesthetic experience

Nasseri’s new works appear to be scientific at first glance. The artist has created these sculptures and drawings, using formulas and models linguistically. Their components (lines, dots, curves, letters, numbers, and cartographic elements) are made clear and associated in a way that allows for a transparent understanding of the process of their execution and development without allowing a full rendering and aesthetic contemplation of a clear end result. These works play out scientific revelations, shaping his artistic practice while taking on new aspects as they become part of Nasseri’s visual and aesthetic experience

Nasseri’s new works appear to be scientific at first glance. The artist has created these sculptures and drawings, using formulas and models linguistically. Their components (lines, dots, curves, letters, numbers, and cartographic elements) are made clear and associated in a way that allows for a transparent understanding of the process of their execution and development without allowing a full rendering and aesthetic contemplation of a clear end result. These works play out scientific revelations, shaping his artistic practice while taking on new aspects as they become part of Nasseri’s visual and aesthetic experience

Nasser Al Salem’s training as an architect has taught him that all objects and creation has a premeditated system in place. This system maps out how components are fused together, how they function, and how then they effect its aesthetical composition.

His work as a calligrapher is also ruled by a system of geometric principles that allow this art an aesthetical, geometrical and spiritual composition, the latter as an extension of himself.

His work fuses a blueprint of calligraphy depicting a verse from the Holy Quran, [It is] The Work of Allah , Who Perfected All Things, [Chapter Al Naml, Verse 88] -- with the notion that all creation has a perfected blueprint in place; mapped out by the creator Himself.  He imagines the insight gained, and the state a person would be in, should he observe the blueprint of all creation.

Younès Rahmoun’s artistic practice is inseparable from his religious and spiritual beliefs. A tendency towards a certain abstraction reveals his interest in repetition and meditation. Rahmoun makes simple artworks that are never simplistic, as they alternately focus on essential, transcendental subjects or everyday issues. Displaying consistency and slow maturation, the aesthetics of Younès Rahmoun’s artworks are highly controlled, yet the media he uses are extremely varied. Installation, drawing, film animation, photography or performance alternate and complement each other to form a body of work of remarkable coherence. Thus the Zahra project unravels as a series of 77 drawings of imaginary flowers with delicate colour nuances, as a poetic and immersive film animation, and in different installations.