Amira a gama
Designer and Metal Craft Artist

Amira, born in 1992 in Malaysia and of Libyan descent, 

is a distinguished designer and artist whose work is centered on the art of mirror metalcraft. After relocating to South Korea at the age of 10, she cultivated a profound passion for the arts. She earned both her Bachelor’s and Master’s degrees in Metal Craft from Seoul National University, graduating in 2020, and subsequently embarked on her professional career in the arts. Amira bases her work on metalcraft and utilizes mirrored glass as a primary material, presenting pieces that pursue both decoration and functionality. Her work aims to transcend mere visual beauty by adapting its functional role according to the individual who interacts with it. Having spent 24 years of her childhood in South Korea, far from her homeland, Amira’s diverse experiences during this period have significantly influenced her artistic vision. Her creations seamlessly blend Eastern and Middle Eastern elements, reflecting

a unique harmony that showcases the fusion of tradition, modernity, and various cultural backgrounds. Amira continues to explore new artistic expressions
at this cultural intersection, persistently presenting works that balance visual appeal with functionality tailored to the person who engages with them.

From Luxury to Necessity:
The Evolving Role of Mirrors

For centuries, mirrors were esteemed as luxurious objects, celebrated not only for their decorative beauty but also for their symbolic association with opulence and power. Early humans, fascinated by their reflections, utilized calm waters, polished stones, and other reflective surfaces to glimpse their images. Yet, it was only in the 19th century that mirrors began to accurately reflect their images, thanks to advancements in glassmaking technology. The challenge of producing sturdy glass with a perfectly flat surface, along with the intricate process of applying reflective materials, marked a significant technological achievement. In regions such as Ghadames in Libya, mirrors transcended their decorative role to become functional necessities. The harsh desert winds necessitated the design of homes without traditional windows, opting instead for ceilings pierced to admit light, which was then reflected by mirrors adorning the walls. This innovative approach allowed for both illumination and ventilation in the absence of conventional windows. However, mirrors remained a luxury, inaccessible to many, who resorted to cutting holes in walls and using candles as an alternative. Today, mirrors continue to straddle the line between function and aesthetics. In the Middle East, mirrors are not only employed for practical purposes like entryways and bathroom vanities but are also strategically placed for decorative effect, enhancing the visual appeal of spaces above stoves or behind beds. Mirrors have also found their place in prominent locations across landmarks, serving a dual purpose of personal reflection and space promotion. Reflecting on the journey from a coveted luxury to a versatile tool, Amira’s interest in mirrors has led her to explore their historical and contemporary uses. Amira seeks to occupy this unique intersection of decoration and functionality, striving to present thoughtful interpretations of mirrors in our modern context.