IN/OUTROSPECTION is exclusively-made for VENICE DESIGN 2019 this year, featuring two playful installations, Union and In-Pression that investigate common jewelry theory, asking how and why does the body interact with a jewelry piece; what forms and materials heighten the awareness of our bodies; can we sense/see the moment of interaction; how the body exist as as subject and medium, and can an object redefine/direct the body or vice versa.

Through studying jewelry and the interconnectedness between functionality, material and scale, Farah began to reduce all pre-determined associations around jewelry to focus purely on the visual and sensory qualities of wearing, immersing the audience into a jewelry experience.

Union and In-Pression present two frameworks of jewelry design, using silicone rubber as its main material to emphasize its mass, weight, flexibility and fragility, color and scale, similar to that of the body and skin. One offers linear, heavy, dense hand-held and recognizable chain links composing a 5 meter necklace that can be “worn” in any variation depending on the person/s and their movement. The other presents 50+ soft pillow-like spheres that are like skin-thin casings mounted and protruding from a doorway, mimicking the exact moments that the skin morphs to accommodate the piece of jewelry as it is being worn.

Together, the two pieces offer the context of a playground, inviting the audience to touch, wear, carry, push, squeeze the pieces, together or individually, alternating their role between a participant and/or spectator in the framework of jewelry and wearability. The sensory results becomes not only internal but also external and visible as the wearer starts to move and accordingly, the silicone rubber, like skin and in similar neutral colors, reacts as well - hence “IN/OUTROSPECTION” which is the consequence of this engagement for the piece and the body alike.

Almost serving as social works to understand the body, its triggers, movements, and reactions, these pieces dissolve the theoretical obsession with aesthetic jewelry, and morph it into an awareness of the body, engaging the intellectual and physical participation of the audience.

Invited by the GAA Foundation and the ECC, organizers of the Venice Biennale.
This project is sponsored by the National Bank of Egypt, Misr el Kheir Foundation, and El Sewedy Electric.


Union exhibits a 5-meter long silicone chain necklace with alternating loop sizes, proportionally enlarged to fit around the neck, hand, waist, leg and arm, etc. There is no “way” to wear this necklace, but rather to embrace how the body reacts to it, and vice versa. Its linear qualities seem light, however are contrasted with the weight of each/multiple chains when worn by one or several people collectively. This again alters the movement and sensation of the interaction, creating an unspoken dialogue between the body and the materials. Contrastingly, soft round pillow-like masses of 50+ hollow spheres found in In-Pression, are tailored measurements to fit the door frame in the Palazzo, allowing for a more intimate engagement of action/reaction onto a surface (skin on skin). The body’s decision to enter the doorway forces it to affect the spheres, making the interaction visible, corresponding to the skin entering the space created by a ring, necklace, etc. but where the consequence of this partnership is often overlooked.