"Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt."
"Heritage functions for me less as a fixed origin and more as a field of tension. Something stratified, discontinuous and materially embedded. When I work with architectural structures or industrial supports, I am thinking about how memory occupies space in a non-linear way, similar to sedimentation. The co-existence of multiple cultural frameworks shapes how I understand architecture not only as built form but as a carrier of ritual, migration and historical rupture."
Monia Ben Hamouda combines calligraphy, material transformation and ancestral memory in sculptures and installations that bridge language and form. Her practice uses iron, stone, pigment and spices to make architectural objects into tactile, temporal sites where history can be physically felt. Heritage operates as a stratified, discontinuous field that materializes through sedimentation, ritual and migration rather than fixed origin. Works such as 'Theology of Collapse' (2024) apply spices to laser-cut iron to stage friction between permanence and erosion. The practice continually negotiates rupture and transformation, attending to traces left by memory and language ahead of the 'After Totality' exhibition.
Read at Berlin Art Link
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