In my practice I am interested in experimentation and in a collaborative approach to art, design and the built environment. How can we learn and work as a collective to develop spaces that foster alternative forms of interaction and production?  


My first project - the Blackstock Greenhouse, a temporary garden and cultural venue in Finsbury Park - involved two years of fieldwork research before coming to life. Much like an ethnographic journey, I see the idea of inhabiting a place and getting to know its people as a central part of my work.


One element that defines the practice of Muf Architecture Art, with whom I worked for three years in London, is "Making Space": a generous approach to public realm design that allows for both the existing social fabric to emerge and for new connections to be made.


When I founded El Warcha in Tunis, it didn’t take long for it to be taken over by children. While the adults could only dedicate limited amounts of time to the Warcha, the children were ready to play. Play is often the starting point and the end product of my work, a chance to make things collectively based on intuition and enjoyment.


One of the many workshops I developed in Tunis in collaboration with artist Sonia Kallel involved casting biscuits out of the walls of the Medina, allowing for an alternative reading of this UNESCO heritage site. I believe in promoting new forms of learning that encourage people to experiment, rather than disseminating 'expert' knowledge.


I am particularly interested in developing spaces of production as a way to bring people together and generate new narratives around the making process beyond the consumerist model. The El Warcha project that I established in Tunis and that I am now developing in London is based on the idea of collaboratively making temporary public realm furniture with young people.