Nishri’s work seeks to listen to what has been forgotten, broken, or discarded, and to grant it a new form. Everyday objects and material remnants are reborn in her practice as living bodies - stretched between memory and imagination - offering a different view of existence: wild, poetic, and full of possibility.

She explores how her art can reanimate dead objects or transform the inanimate into the living, focusing on ordinary items that have lost their function or allure - dry leaves, broken branches, old windows, notebooks, deflated helium balloons, or fruit cartons. These objects acquire new life, charged with memory and a sense of loss.

Her sculptural practice revolves around reviving - and at times personifying - abandoned and inanimate materials she finds in her urban surroundings. Her structures and sculptures resemble abstractions of the human body, like mechanical dolls. The sculptural components function as organs, and the artistic act is linked to therapeutic or even mystical gestures of summoning, recalling emotions or memories from the past. Thus, the identity of the objects changes - -their original forms as ready-mades dissolve, giving rise to new, improbable figures. The familiar object becomes a strange one, imbued with infinite potential.

Nishri’s works are born in the space between control and surrender, driven by the search for the latent potential within gaps -between skeleton and branches, shapes and voids. When she picks up a branch from the street, she bandages it and fills its hollows with plaster, giving it the qualities of a wounded or amputated body. These actions breathe new movement into it, as if it were a living limb torn from its context.

Her background in fashion design informs her ongoing interest in the body’s structure and composition. An exposed branch becomes an equivalent image of a human skeleton - male, female, or non-binary - while clothing is seen as an extension of the body: it covers, shapes, and sometimes distorts it. The resulting images stretch the boundaries of the body and challenge its form and identity. Nishri expands the body beyond human proportions, in exaggerations reminiscent of the theatricality of performers’ costumes and certain fashion designers: constructions, crutches, and extensions amplify the silhouette, playing with notions of femininity and masculinity. The body becomes a wild, larger-than-life, almost mythological force - perhaps an animal, perhaps a piece of furniture, or a creature from another planet that blurs the boundaries between human, object, plant, and imagination.

In her paintings as well, Nishri surrenders to unpredictable processes. She is drawn to the tactile quality of paper and the random way watercolour spreads across it like a plant - growing and evolving according to its own inner logic. The stains invite hidden images which she accentuates or develops, treating the paper as a sculptural material - scraped, thinned, and shaped. Through this manipulation and the exposure of lighter layers beneath the surface, Nishri explores how light can be represented through painting. The clearings and depressions she creates on the paper’s surface generate the illusion of flashes of light emerging from within the material itself. In this sense, her painting functions not as an external mark but as a revelation of what lies within the substrate - shadows and hidden entities constructing a fantastic, subconscious world of images and references that surface from the depths of memory and thought.

Nishri’s works reveal the poetics hidden in matter. Everyday objects and forgotten remnants gain new life, evolving into bodies that stretch beyond the limits of reality and transform their identities. In doing so, she opens a space where reality, memory, and fantasy intertwine into a unique visual language - wild, mysterious, and full of possibility.