Harry Nuriev

Temple Magazine

You've gained attention for your innovative approach to design and art. How would you describe the core concept behind your work, and how does it evolve over time?

Harry Nuriev

I have a special word for, I call my concept: Transformism because it’s not just about repurposing what’s already out there—it's about completely rethinking and reshaping existing designs. I focus on taking everyday objects, things that are often overlooked, and giving them new life. But it's not about simply reusing them; it’s about transforming them into something radically new, something that’s both familiar yet entirely unexpected. I’m drawn to the beauty in the ordinary, in what most people might not even notice. My work is about revealing that beauty, whether it’s turning a simple piece of furniture into a work of art or transforming a space that challenges the conventional. What I love about Transformism is the way it allows me to explore the relationship between aesthetics and the environment. It’s not just about beauty for the sake of beauty; it’s about creating something meaningful, something that speaks to people in new ways. For me, this process is about questioning norms and pushing boundaries—whether it's in design or art. By taking these elements, objects, or concepts that are already familiar and transforming them, I aim to create something that feels both fresh and timeless, something that transcends trends. In the end, Transformism is about creating new realities by seeing the potential in what’s already around us.

Temple Magazine

Your collaborations with brands and artists have been pushing the boundaries of design. What drives you to collaborate, and how do you select the people or brands you choose to work with?

Harry Nuriev

I enjoy working across different disciplines—architecture, fashion, art, and design. For me, it’s less about making a choice and more about being chosen. When someone reaches out, it’s because there’s something about what I do that resonates with them. It’s a bit like the work chooses me, in a way.

Temple Magazine

And lastly, can you tell us about a particular collaboration that stood out for you?

Harry Nuriev

Honestly, each project stands out in its own way. Every collaboration, whether with a big brand or a smaller one, takes so much time, energy and love. That’s what makes them all important. It’s not about the scale; it’s about the process and the connection that happens.

Temple Magazine

Like you said, your work often blends fashion, design, and architecture. How do you balance these different disciplines in your creations, and do you see yourself as part of a larger movement within these fields?

Harry Nuriev

The boundaries between disciplines have become more fluid today. People move between them easily. Personally, I never think about what category I fall into—whether I’m an artist, designer, or something else. I don’t pay much attention to that label. What matters to me is the quality and the message behind the work. If it feels like art, then it is art. The rest is just a label, and I don’t find it all that relevant.

Temple Magazine

You talk about labels, and it’s interesting especially in relation to your experimental use of materials and space. How do you approach the challenge of creating something both aesthetically striking and functional, especially in your larger installations?

Harry Nuriev

Function, in my view, goes beyond mere practicality—it’s inherent in everything we create, even in art. Art has its own function, one that isn’t just about aesthetics. It has the power to educate, to evoke emotions, and to start important conversations. It’s not only about making something look good; it’s about creating a reaction, provoking thought, and asking questions. Whether it’s in design or in art, every piece carries meaning. I don’t believe in things existing without purpose. Even the smallest detail in a design or an artwork is there for a reason, contributing to the overall experience or message. When we talk about design, the first things people tend to think about are comfort, texture, and the tactile qualities of a piece. But I don't always approach these ideas in the conventional sense. Comfort, for example, is often seen as a simple, almost automatic aspect of good design—but I see it differently. Comfort can sometimes be too safe, even dangerous. When we make something that’s too comfortable, too familiar, we risk losing the tension, the edge that makes it interesting. That’s where I find a deeper meaning. I think that comfort should be questioned, not just accepted. It’s about exploring the emotional or philosophical implications of comfort: what does it mean for something to be comfortable, and who does it serve? Is comfort simply a way to placate the senses, or can it challenge us to think differently about how we live and experience the world? For me, it’s not just about physical comfort—it’s about creating an experience, a conversation, a feeling that goes beyond the surface. It’s about taking something familiar and making people see it in a new light. The way I approach design is almost like a philosophical question: how can I use comfort, or the lack of it, to say something deeper? That’s where the real power lies—in the ability to make people think, feel, and reconsider their assumptions about what design and art should do.

Temple Magazine

And what drives the projects you work on? How does your feeling at the time shape your process?

Harry Nuriev

For me, it’s not about working with brands—it’s about working with real people behind those brands. People bring energy, ideas, and problems to solve. They inspire me through our conversations. I’m not hands-on in the typical sense; I’m more of a collaborator. I like to interview, listen, and really understand the people I work with. My work is ultimately an expression of what I see in them. It’s about them, not just me.

Temple Magazine

Looking to the future, what projects or collaborations are you most excited about? Are there any new directions or fields you’re eager to explore within your creative practice?

Harry Nuriev

I’m starting to explore more of the art side of things—what people traditionally consider “art,” especially in institutional spaces like galleries and museums. But honestly, I’m not focused on finding a new direction. I’m at a point in my career where I just want to keep doing what I’m doing and explore it more deeply. It’s an interesting time to really look at the potential of what already exists.