Armin Najib Explores Creative Identity in RE-FLEKT Exhibition at Dubai Design District

Armin Najib, a contemporary jewellery and wearable art artist, showcases his latest works at the RE-FLEKT exhibition, which runs through June 15 at the Double J Collective Gallery in Dubai Design District. Najib’s journey reflects a struggle between societal expectations and personal creativity, a narrative common in many households. Raised with a roadmap leading to careers such as “doctor, lawyer, engineer,” he pursued a degree in mechanical engineering. However, he emphasized that this path paralleled but did not overshadow his devotion to the arts, stating, “I studied mechanical engineering, then I said I’m going to continue my art practices.”

An Overview of RE-FLEKT

RE-FLEKT features a diverse array of artworks that straddle the boundaries of sculpture and body adornment. The exhibition comprises four interconnected series: Origins, Manifesto, Form, and Edge. Each segment approaches material as vibrant and dynamic, highlighting the ongoing negotiation between structure and function.

Najib states that the Origins series, initially dubbed the Cube series, deviates significantly from conventional jewellery. Constructed with glass and magnets, these pieces function more as collectibles than wearable art, existing in a realm beyond typical adornment.

Shifting Closer to Human Interaction

The Manifesto series introduces a more personal touch. Najib describes it as “my private and social comments,” integrating small plastic toy animals within precious metals like gold and stainless steel. This series embodies tension among contrasting materials, allowing for multiple interpretations. He notes that viewers can often sense an underlying narrative without needing to define it explicitly.

As the exhibition unfolds, the Form series begins to connect more directly with the body. Najib indicates that while these pieces are indeed wearable, they resist traditional jewellery conventions. The artist remarks on their practical designs, adding that “they’re not very ordinary jewellery pieces.”

In the Edge series, Najib further experiments with shifting the perception of value. He utilizes industrial materials like steel and plexiglass, redirecting focus from preciousness to structure and movement.

Audience Engagement and Artistic Process

Najib’s works often provoke curiosity among viewers, encouraging them to inquire about the pieces they encounter. He reflects, “People come to you and ask: what is this you are wearing?” Such questions are integral to his creative process, which involves extended periods of immersion and repetition at his workspace.

He describes a rigorous routine of “filing, sanding, casting,” where he often becomes so engrossed that he loses track of time. This relentless focus culminates in a sense of completion rather than an emotional reaction. He captures this sentiment with the phrase, “After that I was like ‘wow,’ I have it now.”

Self-Portraits and Unique Creations

Some of Najib’s works linger in his studio for years, referred to as self-portraits. He clarifies that these pieces serve as markers of his own state, embodying aspects of his process. He claims to be “a very narcissistic artist,” acknowledging that these specific works are not intended for public display. “I cannot do version two,” he insists, emphasizing their unrepeatable nature.

One notable piece eventually found a new home after several years, acquired by a collector associated with Louis Vuitton. The piece was eventually displayed in Paris, where it was meticulously presented in a custom box, complete with a tweezer to keep it suspended in air.

The Impact of a Legacy Studio

Najib recounts an emotional moment from years ago when asked to help clean out the studio of his late uncle, a revered jeweller. Stepping inside, he felt a profound connection, as if the space had been locked in time. Every tool and book remained in place, creating an atmosphere steeped in devotion and craftsmanship. Najib describes it as “like someone just left and will come back in five minutes.”

This transformative experience deepened his appreciation for the craft, illuminating the rituals that surround artistic creation. “I started just learning,” he notes, “by looking.”

Handcrafted Artistry

This commitment to craftsmanship resonates throughout RE-FLEKT. The exhibition features pieces solely made by hand, embodying a process where repetition transforms language into form. The interactive and kinetic nature of many artworks invites viewers to question their roles, prompting reflections on whether they are merely observers or part of a larger narrative.

Najib concludes with a thought-provoking inquiry: “Are you the viewer, or are you the subject?”

For more information about the exhibition, visit Mojeh.