Can you introduce yourself?
I am Natalya Konforti an artist and cultural program facilitator with a degree in Fashion Design from ESMOD International. I have a decade’s experience in the garment industry which has cultivated my attunement to color palettes which led to a fascination with patterns, as well as a deep appreciation for textile craftsmanship. My process-driven, introspective practice is grounded in what we as humans leave behind channelling themes of memory, community, and sustainability.
What medium of art do you use and why that medium?
Generally speaking, color, texture and backstories are what inform my choice of medium. I work with a variety of mixed media: photography, acrylic paint, textiles, and scavenged materials. I am passionate about needlework in particular. Nearly every region around the world has developed their own form of the craft and so it has great potential to bridge gaps between generations, languages, and cultures.
What are the projects you’ve worked on in UAE and worldwide?
This past year has been both intense and incredibly rewarding: I have become an alumnus of Campus Art Dubai and Tashkeel’s Solo Residency Program. I have also had the pleasure of exhibiting my first international installation ‘Sister Octopi’ at The Omnibus in London and a local solo exhibition ‘Rainbows Under Their Feet’ at Tashkeel which was also featured in the latest edition of Sikka.
Perhaps my favorite development through has been taking a permanent studio in Tashkeel’s historical Al Fahidi branch; I feel incredibly grateful to be part of such a special neighborhood.
I have several pieces in the upcoming ‘Made in Tashkeel’ exhibition which opens on June 20th in Alserkal Avenue and runs till September 5th.
What are your thoughts on the current art landscape in the UAE?
The local scene is developing at a very rapid pace, particularly in these past few years, especially with Dubai Culture taking steps to help nourish a grassroots art movement – which is desperately needed. The golden visas in particular are a real game changer in terms of stability for independent creatives. Overall though, the market is still quite green compared to places like Paris, New York, and London, but that’s what makes it so exciting – we get to be part of the conversation and help shape the landscape.
What message are you trying to deliver with your art?
My visual art practice draws on the transformational nature of journeys – whether mental, geographical, or temporal.
There’s a common thread of nurturing, generosity, and abundance throughout my process. The intimacy of connection with my subjects, careful selection of scavenged materials, copiously slathered paint, and gestural devotion to labour-intensive needlework all come from a place of deep care.
My research is propelled by human connection, interwoven timelines, and ideas of placehood – examining inner depths, the plurality of perception, and intergenerational transmission.
What is the meaning of ‘glitchesandstitches’?
One of the aspects I find most touching about needlework is the human imperfections – Glitches & Stitches is an ode to that: finding beauty in flaws.
What are your plans for the future, are there any projects, or collaborations you could hint on?
I have several pieces in the upcoming ‘Made in Tashkeel’ exhibition which opens on June 20th in Alserkal Avenue and runs till September 5th.
What message would you like to give to our readers and young artists?
I’d like to leave readers with a quote (one of many nuggets of wisdom) from one of my favorite books on creativity ‘Big Magic’ by Elizabeth Gilbert, :
“[…] be ready. Keep your eyes open. Listen. Follow your curiosity. Ask questions. Sniff around. Remain open. Trust in the miraculous truth that new and marvelous ideas are looking for human collaborators every single day. Ideas of every kind are constantly galloping toward us, constantly passing through us, constantly trying to get our attention.”
