Noore Saleh is a queer jeweller and metalsmith hailing from Montreal. In 2019, Noore successfully completed their studies at the École de Joaillerie de Montréal. After gaining valuable experience through two years of independent work, Noore made the decision to further enhance their skills by enrolling at the Nova Scotia College of Art and Design University.

Throughout their career, Noore has exhibited their creations in various venues in Quebec and Canada, with a thematic focus on shedding light on mental health challenges and the inherent resilience demonstrated by individuals facing such struggles. However, Noore has recently made a conscious shift away from those themes to focus on the diasporic problematic they’ve been facing.

Recognizing that the world of jewellery might not fully align with their creative aspirations, Noore has redirected their artistic endeavors towards the creation of utilitarian objects, finding profound satisfaction through the meticulous application of metalsmithing techniques.

Noore Salem

he/they

Montreal, Quebec

“Face to Face reflects the identity conflict experiences by immigrants and their children, a situation I am personally familiar with. Two figures, adorned with septum piercings, face each other and are linked by an 18k gold chain crafted through the fusion technique. The chain symbolizes the challenging relationship between two distinct identities. The pattern that adorns each figure is meant to abstract Arabic calligraphy, reflecting my complex personal connection to a language in which I am not fluent. These elements demonstrate how beauty can emerge from discomfort. Despite the imperfect connection, we can still become something new, intriguing and unique.”

@nosa.studio

"Face to Face", Copper, brass, 18k gold, steel pin-back, 11.8" x 3.2" x .8", 2023

How does your work relate to the theme connection?

“My work primarily focuses on the theme of connection, particularly from a diasporic perspective. I often reflect on my relationship with Quebec or Egypt, and therefore ask myself where I am actually from. This particular piece depicts two faces that are similar yet distinct, symbolizing the dual aspects of my identity. I owe my Egyptian identity to my family and household, who have instilled in me a set of values, a taste for food, and a cultural heritage. My Quebec identity, on the other hand, my friends, their way of living and the questions they have prompted in me.

The abstract pattern is the primary method I utilize to represent my connection to both identities. The design is instinctive while being calculated to some degree, and it not only points to my lack of fluency in the Arabic language, but also provides insight into my background., The style is inspired by Arabic calligraphy and Gothic writing, the latter of which I first encountered at a young age. It also draws on my background in music, having studied the piano from the age of six.

These influences have merged to create a unique visual language that is deeply personal and that only I can fully understand. Despite the fact that my mother perceived letters within the symbols and that my father even began to discern words in Arabic through them, they are not intended to convey anything other than my complex connection to the two places that I identify with."

NYCJW24 @ UrbanGlass, Francely Flores

What role does connection play in your creative process?

“My work is informed by meditation, a process through which I connect with my deepest self and find the intuition to create freely. This is how I obtain the various motifs and patterns that adorn many of my pieces. For me, the act of meditating is also a means of self- healing. Not only do I establish a connection with myself for creative purposes, but also in an attempt to revisit my own inner struggles and to translate them into my work."

What connection(s) does your queerness make to the world around you?

"I have found that connecting with other queer individuals has been a significant source of support throughout my life, particularly in relation to my creative endeavors. I was finally able to express myself freely with people who understood me, whether in some of my art classes, the kink/bondage community or even through various events. These connection will always be of significant value to me, as they facilitated my reconnection with my sensitivity and femininity, which were always inherent despite not being fully accepted by myself for the longest time."

NYCJW24 @ UrbanGlass, Simon Leung

Anything else you would like to share about this work?
This can be an important part of the process, sourcing materials, or research.

“I conducted extensive research to determine whether my calligraphic style could be considered haram (immoral from a religious perspective). The findings were more enlightening than I anticipated. Notably, I discovered that borrowing elements from Arabic calligraphy is not a recent phenomenon; it has been incorporated into Western art since the Renaissance. Artists from that era returned from the Middle East and integrated its aesthetic into their works, drawn by the beauty of its letters and style.

Despite this historical context, I was still unsatisfied with the lack of definitive answers regarding my own practice. The only substantial perspective I found came from a blog stating that using Arabic calligraphy for artistic purposes or profit is highly immoral due to its religious significance. To gain more clarity, I reached out to Arabic individuals in my community for their insights.

I spoke with someone who identified as a leftist Muslim, with whom I felt comfortable discussing my concerns and sharing my artwork. To my relief, he informed me that my work was not considered haram and that I could indeed market it as inspired by Arabic calligraphy. This affirmation not only alleviated my concerns but also bolstered my confidence in the artistic direction I have taken through instinct and deep meditation."