My work is an extension of my personal experiences. My upbringing in
Japan actually started with my great uncle who moved to Japan in 1917.
So my father moved to Japan in the fifties and I was bought up there.
I found myself coming back to my Arab roots through my own personal
journey which is actually being bought up in Japan, studying in the
States at the Rhode Island School of Design, living in London, working
in the UK, and then thirteen years ago I moved back to Beirut.
My general practice involves designing, manufacturing and selling
contemporary furniture. Basically what I have been doing is taking the
craft of this part of the world and applying it on contemporary forms in
order for us to take craft that is traditional but make it look more
available to the lifestyle of the people of the present.
For the ‘Concrete Carpet’ I worked with Pascal Zoghbi. We took the
Japanese calligraphy Kanji and the Arabic Kufi script and we put the two
together and superimposed it and we used that to create the font. This
font is laid in random words throughout the panels on the concrete
carpet and they create a kind of hyper-poetry, like a rhythmical effect
on the carpet.
DISPLAY: A collaboration between London-based print and design studio David David and British manufacturer Johnson Tiles, Carousel Wall sees the inside walls of the V&A’s Tunnel entrance covered in bold geometric shapes and bright shades.
You may not have thought of including a gift to a museum in your will, but the V&A is a charity and legacies form an important source of funding for our work. It is not just the great collectors and the wealthy who leave legacies to the V&A. Legacies of all sizes, large and small, make a real difference to what we can do and your support can help ensure that future generations enjoy the V&A as much as you have.