Darin and Tarout Island project, Saudi Arabia
Darin and Tarout Island project, Saudi Arabia
Darin and Tarout Island project, Saudi Arabia
Contributed to the conceptual and cultural development of Darin and Tarout island in Saudi Arabia by grounding its direction in local heritage, material culture, and historical identity. The work focused on translating cultural narratives into spatial and experiential elements that reflect the history and character of the region.
The Forthe Walk project, Saudi Arabia
Darin and Tarout Island project, Saudi Arabia
Darin and Tarout Island project, Saudi Arabia
Supported the transformation of a waterfront area in Al-Khobar, Saudi Arabia, into an artistic and cultural destination, integrating museums, artistic spaces, and community-focused experiences.
Bahamas Digital Museum of History and Natural Science project, The Bahamas
Leading the development of curatorial narratives and the online visitor experience. The work includes shaping exhibition structure, refining storytelling approaches, and ensuring alignment between content, design, and user interaction.
Opera Atelier project, Canada
Supported the transition of the Making of an Opera programme at the Elgin and Winter Garden Theatre Centre, Toronto, into a digital learning experience, developing creative approaches to preserve Baroque opera while adapting it for younger online audiences.
Tiffany Lamps project, Neustadt Gallery and New York Historical Society, The United States
Tiffany Lamps project, Neustadt Gallery and New York Historical Society, The United States
Tiffany Lamps project, Neustadt Gallery and New York Historical Society, The United States
The Tiffany lamps at the Neustadt Collection and the New-York Historical Society were created at Tiffany Studios between the late nineteenth and early twentieth centuries under Louis Comfort Tiffany. Clara Driscoll, who led the Women’s Glass Cutting Department, designed some of the most iconic models, including the Dragonfly and Wisteria lamps.
During my research in New York, I worked with these lamps as sources of meaning that needs to be preserved. I translated them into visual artworks that bring forward their connection to nature and the ideas they hold. My aim is to deepen how we relate to artefacts, so they are understood, felt, and experienced more fully.
The Data Art project, Cultural Literacy Research Network
Tiffany Lamps project, Neustadt Gallery and New York Historical Society, The United States
Tiffany Lamps project, Neustadt Gallery and New York Historical Society, The United States
The Data Art Project (DAP) aims to preserve three spiritual texts through a mixed research method. The method maps the inward journeys in the Ten Oxherding Pictures, seven in The Conference of the Birds, and seven in The Interior Castle.
Through the use of natural language processing, I trace recurring symbols, patterns, and meanings. These findings are then translated into visual form through a dialogue between data, intuition, and imagination.
Thus, scholarship, computation, and artistic practice are brought into unity.
The Interior Castle (1577), by Teresa of Ávila, presents the soul as a crystal castle of seven mansions, each a step toward divine union.
The Conference of the Birds (c.1177), by Farid ud-Din Attar, follows birds crossing seven valleys in search of the Simurgh, a mirror of the self.
The Ten Oxherding Pictures, attributed to Kuoan Shiyuan and later interpreted by Yamada Mumon, trace ten stages from seeking to return, awakening fulfilled in compassionate presence.