The KAMEH’s 0.5 Editions Exhibition

by Sophie She

The KAMEH’s 0.5 Editions Exhibition: Interview With the Anonymous Artist

5 Nov 2024

As visitors step into the exhibition space at Editions, Dubai's very first own Frieze, they are invited on a journey through the themes of renewal, cultural fusion, and environmental reflection presented by KAMEH’s latest collection, the 0.5 Editions.

Created with a discerning eye for storytelling, this limited series of hand-sculpted ash wood chairs incorporates the ancient Japanese wood-burning technique Shou Sugi Ban. This traditional wood-burning process, which enhances both the texture and longevity of the wood, serves as a powerful symbol of resilience and transformation — a theme that resonates throughout the exhibition.

Inspired by John Muir’s evocative words — "And into the forest I go to lose my mind and find my soul" — each chair serves as a metaphor for the artist’s personal journey through burnout and rejuvenation, while also underscoring a broader, urgent message about environmental stewardship.

Each piece is not only a work of art but also a meditation on the cycles of nature and a quiet commentary on the current ecological crisis. The muted, charred surfaces of the chairs juxtaposed against the modern, clean lines of the exhibition space, creating a compelling dialogue that bridges Eastern and Western aesthetics and invites visitors to pause, reflect, and connect deeply with the natural world.

The Sandy Times’ Editorial had a unique chance to have a conversation with KAMEH, who is a famously anonymous artist. We won’t spill the secrets, but we will delve into the collection’s inspirations and the dynamic dialogue it creates within Dubai’s vibrant design landscape.

Instagram: @kameh.space

— Why do you think it is important to present works with such messages in Dubai?

— I guess it was a need for my creative expression and to tell my story, which I don’t think is unique but I wanted to explore how human experience will be transferred to the object of design. From the shape to the final texture (burned wood) I tried to show myself in the piece.

It is quite a universal message, I guess for the big cities we are all living in. We are burning out with work and our problems, we forget most of the time how nature can rejuvenate us and make us feel better. At the same time what is happening with nature at the moment is quite sad. With global warming and wildfires we are losing places where we “find our soul.”

— The collection touches on the theme of environmental awareness, especially the impact of wildfires. How does KAMEH aim to engage audiences with this message through the 0.5 Editions?

— I believe by speaking about it, we are sending a global message and this will touch someone. By doing small things all together we can make a huge change. I believe that by making collectible design and moving out from the mass production we are saving this planet, as it is all very much controlled.

— KAMEH's focus stays on maintaining privacy and shifting attention away from the designer's identity. What role do you believe anonymity plays in enhancing the viewer's experience of the art? How did you navigate this aspect as a curator, and how do you think it shapes the audience's interaction with the collection?

— I really hope that my choice of not showing my face is not impacting viewers' experience, at least it’s not what I’m trying to do. I am trying to say — it doesn't matter where I come from, what age or gender I am, what really matters are the pieces I make and story and messages I am trying to tell.

I am a shy person. Any social interaction gives me a lot of anxiety, so the anonymity helps me stay sane. I do not show my face on social media or in the press, but of course people from the industry know who I am, I avoid public appearances.

— How do you hope attendees at Editions and Dubai Design Week will connect with the themes of the collection? What emotions or thoughts do you hope to evoke in those who experience these pieces firsthand?

— Editions is the first art and design fair happening alongside Dubai Design Week and I am very happy and proud to show my collection at home. In the end of the day, Dubai gave me an opportunity to be who I am today. This is a very important moment for me to be amongst the beautiful community of the artists and designers we have in Dubai, people who I know personally.

I want them to experience the forest, the way it would look in the desert, clearly burned, see the connection they can potentially have with themself and the way they feel.

As long as I can touch one person emotionally and make them think about themselves, nature, environment, my job is done.

— Given that KAMEH’s work emphasises a blend of Eastern and Western aesthetics, how do you see the collection fitting into the cultural context of Dubai, particularly within the setting of Editions and Downtown Design?

— Living in Dubai for the past 14 years has shown me a beautiful coexistence and collaboration between East and West. I think all of us who live here respect, cherish and celebrate it. We are part of this culture of people who are making things in Dubai. I am not ethnically from here, but I love this city and country the same way as they do. We really position ourselves as a Dubai born brand, without this culture, I would not be who I am today, and KAMEH would not exist.

Missing out on the coolest events in Dubai? We know where you’ll be in November: The Crowd Test Festival — the very first Art and Music Festival by The Sandy Times.

The lineup is incredible: Mainline Magic Orchestra from Spain, Eden Burns from New Zealand, and a lot of your favourite DJs like Hani J, Hassan Alwan, Bazzzuk, and more.

Mark your calendar, snag your tickets, and get ready: November 16, 2024, from 5 PM to 3 AM at Monkey Bar, Dubai.

by Sophie She