INTERIOR POETIZATION
حب
A collection that plays with words, shapes and light. It reinterprets the calligraphy of the word love to make it an object: a neon sign and two cushions that respond to each other, between shadow and light, softness and tension.
Through wordplay and meaning, I explore a simple idea: to make love a form, a sign, a presence.
ISHTAR — LOVE IN THE DARK
Crafted from blown glass, ISHTAR is a luminous manifesto, a play on calligraphy where meaning transforms with light.
When switched off, its lines form the word "war" — حرب.
When lit, the same curves reveal "love" — حب.Like a desire to illuminate love in the darkness.
This duality echoes Ishtar, the Mesopotamian goddess of love and war, an ambivalent figure of creation and destruction.
One line. Two words. Two opposing states separated only by light.
LOVE — THAT'S ALL
Two handmade lambskin cushions, designed to create a dialogue: "Love" and "That's all there is to it."
On the first, Arabic calligraphy spells out حب — love. On the second, the period leaves the word and becomes an extension of the sentence: “That’s all there is to it.”
The hides used come from existing stocks and unsold items. A deliberate choice: not to produce additional material or harm the hide, but to give new life to what already exists.
Lamb also creates a more intimate link with my world: a familiar material, full of domestic, artisanal and cultural references, which calligraphy here moves towards a contemporary object.
Two objects, one word, one period. And the same statement: love, period.
FROM OBJECT TO REALITY
Today, the two cushions are gradually leaving the object to become the central theme of an ongoing photographic series.
They travel from Roubaix to Algiers, entering the homes of people I've met along the way. Photographed in their own settings, they traverse generations, cultures, religions, and different social backgrounds. The cushions remain the same. Everything around them changes.