When we look at an artwork or craft objet we can immediately identify characteristics coming from its cultural origin. A prominent characteristic is the ornament, which is defined by the work technique and symbols of its cultural group, in a certain period of time. The Austrian historian Alois Riegl, describes the ornaments a universal means of expression for human imagination, as well as a motive which regularly evolves in every culture, along history.
In ancient Greece, for example, the ornament was used to achieve sublime beauty, while in the modern era, as the influence of the industrial revolution grew, the ornament was perceived as a criminal element (Adolf Loos, “Ornament and Crime” 1913) which production process was considered wasteful and unnecessary.
In the Islam, throughout its history, many techniques were developed to create ornaments and textures on Mosques walls. These surfaces with a textile appearance, were used as protection from a Muslim belief of fear from empty spaces. One known technique is called “Stucco”. Originally it served to create textures on external and internal walls of architectural structures still existing today in public spaces, a live testimony of the local state of mind hundreds years ago. This technique is known by its complex geometric patterns and ornaments inspired by the flora and calligraphy.
“Neo-Stucco” is an artwork series influenced by motives taken from the “Stucco” technique combined with elements and patterns common in Persian rugs. It represent a development of modern work methods to create a new and unique texture with its own cultural language.