For his exhibition, Tara, Lausanne-based artist Karim Noureldin presents a multifaceted ensemble of new drawings, ceramics, paintings, textiles, and glass works. For the first time, he brings together all the media he has worked with in recent years, thus showcasing his artistic vocabulary in an impressive way. His work moves freely between disciplines: from a hand-drawn line to an architectural wall painting, from painted glass and ceramic objects to textile floor works. His compositions emerge in dialogue with their surroundings. They absorb the space, transform it, and set it vibrating.

Drawing (Brea, 2024–2025) often forms the point of departure for Noureldin. “Working on paper means planning, formulating, and sketching an idea,” the artist says. “My drawings always relate to an imaginary, three-dimensional world.” This approach also shapes projects that unite architecture and art, such as the glass windows of a chapel in Frankfurt-Niederrad, DE, or vividly abstract wall works for interiors or facades.

Welcoming the visitors at the entrance is an installation of around 150 found and painted ceramic objects (Naq, 2025). Each individual piece is a drawing in its own right. The forms and chromatic qualities of the preexisting vessels influence the brushstrokes and color selection. Noureldin responds to what is already there and derives an organic formal language from it, which later reappears in his drawings and objects.

The central focal point of the exhibition is a four-part glass paravant (Linr, 2025) consisting of roughly 400 colored glass elements. The arrangement of the different fields of color follows a rhythmic diamond pattern that expands across the entire surface yet never repeats. Ten interlocking hues generate a lively interplay of light, depth, transparency, and opacity. In this way, Noureldin continues his exploration of the transitions between image and object, further probing the boundaries between artwork and interior design element.

In the middle of the exhibition, Noureldin presents a salon-like assemblage of furniture pieces (Tara, 2025) made of oak – created in collaboration with Paul Michelon of Atelier Pesmois – and lighting works (Iktara, 2025), allowing visitors to enter an environment dominated by vibrant forms. A large-scale textile floor piece (Des, 2019), based on a hand-drawn composition, bridges the precision of a drawing and the sensual quality of hand-woven materials. Here, the close kinship between drawn lines and woven threads becomes evident. The setting invites visitors to sit, linger, and reflect on the exhibition's impressions. Both the seating and the carpet can be produced as custom compositions upon request.

Noureldin’s art is at once delicate and powerful, geometric yet energetic, structured while open to the unexpected. The exhibition reveals this field of tension: a universe of color, form, and rhythm that continually expands and transcends the boundaries of the medium.

Image: Karim Noureldin, Naq, 2025.