• Your artistic practice merges visual art, design, and craftsmanship, with geometry serving as a common language between science and creativity. How do you approach the exploration of traditional Zellige mosaics and their transformation into a contemporary visual expression?

It is true that, from its very beginnings, Islamic art has been deeply connected to geometry. Geometry is, at its core, a mathematical expression, and its presence in art is not merely a passing trend but rather a stylistic evolution that has manifested over time in various forms—architecture, painting, wood carving, Zellige mosaics…

While it is true that my doctoral thesis emerged from the study of Zellige and a heritage-driven concern to preserve the specific tradition of Zellige in Tetouan, my work goes beyond exploring the material itself. I developed an innovative geometric method that allows me to generate an infinite number of forms from a single segment. Although my research initially focused on Zellige as an ornamental element, my compositions have since evolved. Today, my work centers on constructing more complex volumetric structures.

• You initially studied architecture but later pursued education in art and design. How has your architectural perspective influenced the way you think about space and structure in your artistic work?

I’m not entirely sure to what extent those two years of studying architecture have influenced what I do today. I believe that passion has always been within me, and I simply decided to take a different path when I realized that Fine Arts and Design were the ideal fields for developing my ideas. What unites these three disciplines is undoubtedly the presence of mathematics, geometry, and spatial distribution—the construction of structures and spaces.

• Your project “Metamorphosis” emerged from your doctoral research and is based on a method that generates an infinite number of geometric shapes from a single structure. How has this principle of transformation reshaped your approach to Zellige mosaics, and what new possibilities has it opened for composition and form?

The method I developed allows me to generate an infinite number of geometric forms. My work is a continuous search for all the possible figures that can be created from a single segment, followed by the discovery of configurations that integrate seamlessly with one another. Currently, I am applying this same exploratory process in a volumetric way rather than just on a flat plane—ensuring that the different faces of a single form interlock with each other. This has led me to construct large-scale structures, all originating from a single element. Depending on the angle from which it is observed, this element reveals different patterns that can guide various paths in the construction process.

• You developed MUSAIC, a unique visual system that translates musical notes and rhythms into geometric Zellige compositions. What inspired you to connect music and geometry in such an unexpected way, and how has this interdisciplinary approach expanded the boundaries of your artistic expression?

Since ancient times, sacred geometry has been intimately linked to sound and music. When observing mosaics in historic architecture—such as the famous Alhambra—one can perceive repetition, rhythm, and musicality. During my research, I discovered the experiments of Chladni, which demonstrate how sound can generate symmetrical geometric figures.

Building upon this observation, I created a fictional language—a system in which I assign each musical note a geometric shape and a color, based on the amplitude of its sound waves. Through this system, I can generate geometric compositions derived from musical partitions and scales.

• Zellige mosaics have been a symbol of Moroccan culture for centuries, yet you reinterpret them in a contemporary context, merging traditional craftsmanship with modern design. How do audiences react to this fusion of heritage and innovation, and what does it reveal about the evolving role of tradition in today’s art world?

The reaction is always positive. A great example is the success of the exhibition Arab Design Now, in which I participated during the Doha Biennale. This exhibition showcased the best designers from the MENA region and demonstrated how this artistic heritage remains alive within contemporary creation across various disciplines.

• Since the craft of Zellige in Tetouan has been recognized as an endangered cultural heritage by UNESCO, you have been actively working on both its preservation and reinvention. How do you envision the future of this ancient artistic practice, and in what ways could it evolve within contemporary visual culture?

Driven by the desire to safeguard the artistic heritage of the region, I co-founded Sania together with my colleague Rita G. Rivera—an enterprise dedicated to ceramic art and Zellige. In addition to studying and producing Zellige using Tetouan’s traditional technique, we strive to highlight both the region’s traditional ceramics and the nearly extinct female Riffian ceramic practice.

New technologies and social media allow us to work remotely from our studio, located on one of Tetouan’s hills, adapting to modern production demands while promoting our work throughout the country and beyond. We collaborate closely with local artisans, fostering the region’s social economy.

• Your work often explores the coexistence of cultures and the transmission of tradition across generations. How do you express these values through your geometric compositions, and what kind of impact do you hope to create for those who experience your art?

While the techniques and materials I work with inevitably evoke a cultural heritage, that is not my primary focus. Rather, this method reveals more to me about my own culture than I could intentionally contribute to it. That is, humbly, my current perspective.

I feel honored to help expand or continue a legacy, and I would love for those who appreciate my art—viewers and audiences alike—to answer this question on my behalf.