This body of work stems from a deep passion and ongoing research into my ancestors, their culture and more specifically their jewellery.

They show my research into the symbols on this jewelry and are far more than decorative objects as they carry a profound spiritual significance. Traditionally used during ceremonies and life events, they hold a deep connection to identity, memory, and sacred practices.

My great-grandparents, especially my great-grandmother (Imma)— to whom I’ve dedicated the piece Imma — were Amazigh Shilha people. They spoke exclusively Shilha, an antique afroasiatic language completely distinct from Arabic, and followed customs that continue to fascinate and inspire me. The Shilha are part of a broader Indigenous group known as the Amazigh (or Berbers), native to North Africa. Despite their rich cultural heritage, they have endured marginalisation, colonisation, and systemic attempts to erase their traditions and identities — often portrayed as "savages" while their cultural symbols were co-opted and misunderstood.

And yet— even “savages” have art.

Sadly, this misunderstanding isn't limited to history books. During my Master’s in Painting, a professor dismissed my work on the Amazigh and my ancestors as mere “doodles” — non-serious, decorative, irrelevant. He didn’t even try to understand the meaning behind my research. That moment stayed with me. It’s a reminder of how certain narratives are still not seen as valid, simply because they don’t fit within dominant frameworks of “art”.

Through this work, I aim to represent their stories, symbols, and strength with fidelity and care. The drawings are created on aluminum foil—a material choice that is far from accidental. Silver has traditionally been the metal of choice in Amazigh jewellery, and aluminum evokes its appearance while also referencing fragility and impermanence. This contrast mirrors the delicate but enduring thread that connects me to my ancestry.

The series is part of a larger reflection on the cultural erasure of the Amazigh people and the exploitation of their artistry.

Many contemporary fashion houses and costume jewellery brands emulate Amazigh designs, often without acknowledging their origins or purposefully ignoring it. This act of cherry-picking elements for aesthetic value, while ignoring their history and meaning, is a form of cultural appropriation— an ongoing legacy of colonization by powers such as France and Spain, dating back to the Scramble for Africa and continuing to the present day.

The name RTI refers to Reflectance Transformation Imaging, a technique used in the conservation and study of cultural heritage. This is both a literal and symbolic gesture: to preserve, restore, and bring visibility to a culture that has been too often overlooked.