WE ARE MAD’INMEDIN
MADINMEDIN: name of the brand made by the group of all the people involved in my projects. They all comes from the heart of the Moroccan society. They are the makers of the artistic projects and they create unique items under the name of MadinMedin to finance their own practice.
The purpose of MadinMedin studio is to take place is different places, the workshops are nomads. It takes place at the craftsmen work places. It’s a way for me to understand how the community chosen think and organize.
I choose the locations in function of the nature of the crafts, I am interested by the crafts people who are making every day life items. These basic objects tend to be replaced by major brands, those communities are kind of left-behind, killed by the globalization of the markets. Most of the time it’s communities which have seen the evolution of their house world. Their heritage is ancestral and haven’t been changed, but now it’s dying. The project aims not to save it the way it is but to transform it in order to save it, it tries to make this heritage interesting again for the youngest. Together we use the tactic of the capitalism to navigate in this world in a way that the poorest, who has a lot of creativity, can benefit from it.
The project intends to create a healthy power of innovation. Once we install the workshop together, it will be there for months or even year until we reach our goal : the co-production of pieces that enhances their abilities to innovation. By understanding their everyday work, I conceive technical specifications that will make them stand back from their routine and think about their work and life differently. I base my specifications on Islamic traditional art philosophy of creation. The approach has a different angle, every step is a struggle for them as for me, but once we pass it, our vision of the crafts field is completely different. Together we manage to understand better the context we are in, its roots and history. Doing so we are able to decompose it, and then re-conceive it questioning what’s contemporary today. Every step forward is a benefit for me as for them. After a while working together, the purpose is to leave them a protocol of creation, sort of a method. Thanks to our collaboration we understand better our heritage, and we all have tools to move forward.
Mohamed the oldest weaver of the weaver place in the Tangiers old medina. We have begun in August 2017 to weave his personal story in the context of a growing emerging city. His son, who understood the need of improvement to save his heritage, is now learning new technic of printing and weaving at the Think Tanger program. We will keep the workshop next year to go deeper in the process of story telling through weaving.
Said and Fouzia, a young couple of ceramists.
We install the project at their place in 2014, they are a complementary couple of craftsmen and crafts women. Said has kiln competences, he knows the different technics of firing and enamels. Fouzia his wife is a sculptor, she his specialist in cutting technics. We are still working together, co-producing complex ceramics pieces using Ourika valley red clay. We compose our clay recipes, we conceive specific kiln and tools for the pieces. Each piece has technical riddles that oblige the team the constantly re-think the tools. Sine 2014 I have learned a lot about Ourika context and its ceramic origin, the project has the chance to be exhibited in Europe as in the US. At the same time Said and Fouzia are now using all this investment into their own items, they expect to sell it soon on the Ourika road.
The embroidery student and teacher of Tetuan Art and crafts school.
The Tetuan workshop has been installed in 2014 during a year we co-work on the re-right he Tetuan specific embroidery with the student of the city school.
3 students – Mariam, Bouchra, Asna- had been very implicated and their Master (Embroidry teacher) – Sanaa – each of them was very motivated to make her everyday life improve. They are passionate by fashion in the Arab world so now they are trying to apply what we learn from each other to create their own collection of bride traditional clothes.
After the school workshop, I went deeper in the decomposition of the embroidery art by introducing a new material at the opposite from the classic ones : recycle rubber. More specifically, the rubber trash. Amina, an embroidery master, was ok to initiate with the new workshop, how to embroidered this new material with the new patterns we made in Tetuan at the school. The 3 students came to learn how to use a machine, Amina and his husband work on the machine to make the necessary mechanical modification, to make to workshop happen.
The whole family get involved, in very conservative society, men works for the women in an equal systmen of exchange. The workshop is still on. Amina has moved in Marrakech, we still embroidered trash rubber with them. She create her own studio with her own collection.