We kick start our Meet the Finalists series for 2024 with the Lebanese French designer and artist Najla El Zein, who is a finalist of the 2nd Dia Al-Azzawi Prize for Public Art in the Arab World. Najla’s work is characterised by an intuitive approach to art and design where narrative, craft, and materiality are central to her creative process. In this interview, she shares the beginnings of her practice, her experiences with public art, and the inspiration behind her site-specific installation “Us, Her, Him”.
Tell us about starting your own Studio.
I established my studio in Beirut in 2011 after relocating for the first time to Lebanon. My decision to move to my country of origin was driven by a deep desire to reconnect with my roots at that stage of my life. Moreover, I was inspired by Lebanon’s rich history and heritage in arts and craftsmanship. Lebanon was extremely generous, offering me knowledge, skills, and invaluable lessons in humanity and life. Although my studio has been based in Amsterdam since 2019, I continue to work extensively from Beirut.
What do you aim to achieve during each project you work on?
I thrive on learning from my projects and the experiences they provide, including the relationships I build, encounters, choice of materials, types of tools used, different processes, and the team I work with. Every aspect of each project inspires me for the next one, and continuous inspiration is what I always seek. These moments and elements that bring projects to life propel me forward.
What sparked your passion and interest in in Public Art?
I feel fortunate to have created works for public spaces. This allows for a wider audience and direct interaction with the works, imbuing them with new meanings within the city’s fabric. The strongest recognition an artist can receive is seeing their works come to life in public spaces, attracting visitors’ curiosity regardless of who they are or where they come from.
How does the installation “Us, Her, Him” reflect the complexity and importance of human connections?
Us, Her, Him is an installation of sculptural benches meticulously crafted from stone in Beirut, Lebanon, with the family-owned Marm Group. Over 300 tons of stone were shaped by a dedicated team of sculptors over two and a half years. This labour-intensive process highlights the collaborative effort and expertise involved, emphasising that the pieces are the product of collective dedication rather than spontaneous creation. The installation embodies the concept of Us, Her, Him by reflecting the memory of the hands that shaped it and the collective work invested in its creation. Moreover, the benches themselves formally illustrate this notion, serving as a testament to the collaborative spirit behind the project.
What inspired the use of hand-sculpted limestone for the sculptural benches, and how does this material choice contribute to the artwork’s meaning?
Using stone to create Us, Her, Him was a natural choice. Given the ambitious nature of the commission by Qatar Museums, it was crucial to produce the work in a familiar environment, like the stone factory where I have collaborated for over a decade. Producing the work regionally was also essential. The limestone, a beautiful and locally sourced Lebanese material, was another key factor in the project. Stone endures through time, becoming more attractive as it ages and ensuring meaningful longevity. This material adds significant depth to the artwork, especially considering its scale and the way it has been shaped. It pushes the boundaries of the material, sparks visitors’ curiosity, and offers a tactile, direct interaction.
Can you elaborate on the various modes and strata of interaction illustrated by the installation?
Us, Her, Him is inspired by human interactions and connections. I wanted the artwork to illustrate the experience of being in a public space, meeting, crossing paths, engaging, and getting to know others. Each bench represents different modes of relating to one another. The installation explores various types of encounters and reflects on these dynamics. Some benches are fully embraced, others are just getting acquainted, some are formal or introverted, and others are generous and unapologetically present. These variations aim to capture the familiar ways we connect and the essence of human relations.
How does the installation underscore the notion that collectivity is the root and driving force of individual fulfilment?
I believe that one’s sense of purpose, happiness, and personal growth is fundamentally linked to their connection with the larger community. Being part of a collective—whether it’s family, a social group, a team of craftsmen, or society—provides the support, shared values, and collaborative opportunities necessary for individuals to thrive.
Us, Her, Him aims to create an inclusive and interactive installation where people of all ages can engage in diverse interactions. Through its varied designs and functions, the installation represents the complexity and richness of human relationships. I hope it promotes and inspires different forms of engagement that can enhance our sense of community while highlighting and celebrating our unique personalities.
What impact does the installation have on the Flag Plaza and the Doha Cultural District, and how does it guide public interaction?
Us, Her, Him spans over 300 meters of linear sculpted benches. The installation aims to create an impact in various ways: Its large scale makes it visible from a distance and the road, serving as an inviting beacon for visitors to enter the plaza. The sculptures also serve as a guide, leading visitors through the plaza and into the cultural museum district. They create a pathway for exploration, connecting the landscape, the central 119 standing flags, and the broader museum areas. Additionally, the installation serves a practical purpose by providing spaces for visitors to sit, meet, and enjoy their surroundings.
How do the functional and interactive aspects of the sculptures enhance the public’s engagement with the installation?
The installation fosters public engagement through its functional and interactive design, offering spaces for sitting, lounging, playing, and relaxing. The sculptures serve multiple purposes: playgrounds for children, meeting spots for adults, and areas for climbing, lounging, and socializing, whether alone or in groups. Their undefined forms invite various uses and interactions, and it has been rewarding to witness how the public naturally appropriates and engages with these pieces.
What are you working on now?
I have just completed my solo exhibition, Opacity, Transparency, and Everything in Between, at Friedman Benda Gallery in New York. The show features stone, ceramic, and glass artworks, highlighting the unique processes inherent in each material and offering a deeper insight into their essence. The pieces—titled Group of Five, Family of Three, Lovers Bench, and Ensemble—continue my exploration of human relationships and connections. By using different natural materials that capture the nuances of these in-between moments, the exhibition aims to elevate the narrative of each piece through the creation process. I am also working on new pieces in glass and ceramic.
Majority of submissions received this year for the Dia al-Azzawi Prize for Public Art were from women. What are your thoughts on this?
I believe gender empowerment can be understood in many ways, and it’s encouraging to see women gaining recognition and impactful platforms, such as public spaces, to express their voices. The beauty of public spaces lies in their openness to all, allowing diverse perspectives to be shared and celebrated.
Meet our other finalists: Alaa Maan, Mais al Azab, Dalal Mitwally, Shouq Al-Mana, Manal AlDowayan, and Dana Awartani.
Meet Our Finalists series is a compilation of interviews with those who have been shortlisted for our awards. Najla El Zein is a finalist for the Dia Al Azzawi Prize for Public Art, which awards artworks within the urban context that have had a transformative impact on their communities in the Arab World.