The tapestry draws from the decorative elements on the Iznik and Damascene tiles found throughout the room, which Friedrich built in 1877 after traveling in the Middle East and North Africa. ‘Motifs such as lobed medallions with vine leaves and flower stalks on grapevines were reimagined in Jamda’s weaving, creating a patchwork of influences,’ explains Kamilah, ‘I hope the installation helps people recognize pre-existing connections between culture, history and communities.’
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Next up is a collaboration with an Italian furniture atelier, for which she is developing an intricately embroidered finish, along with a series of artworks for a luxury hotel. Asia. ‘Textiles are often presented as static objects in museums, making communities and the stories behind them seem one-dimensional,’ says Kamilah. ‘I want to show that these practices are not just inherited remote viewing skills, but important, evolving languages in contemporary language. Art and design.’ kamilahamed.studio; @kamilahamed.studio
