S6E11 Cultural Memory with Lameice Abu Aker

Jerusalemite designer Lameice Abu Aker creates at the intersection of emotional resonance and cultural memory, exploring how form, color, and material embody the poetry of domestic rituals. Now based between Jerusalem and Milan, where she earned her Master’s in Furniture Design from Politecnico di Milano, her work fuses Mediterranean nostalgia with sculptural whimsy.

In 2021, she founded Ornamental by Lameice, a studio dedicated to glassware that blurs the line between sculpture and tableware. Collaborating closely with a family of artisans in the Palestinian village of Jaba’, where glassblowing is a centuries-old tradition, Lameice introduced an unprecedented palette of pastel hues and whimsical designs as an entirely new chromatic language within their heritage of earth and fire.

Each piece is shaped without molds or mechanical constraint, allowing the molten glass to reveal its own peculiar grace. The artisan’s breath lingers in every curve; light, once captured, seems reluctant to leave.

Drawn to the table as a stage for life’s theatre, Lameice designs vessels that hold moments of dates, spirited debates, and family stories in awkward elegance, unexpected colors, and playful forms that carry optimism, intimacy, and the sense that the object might be a character of its own.

Her collections Dreamlike, Eye Candy, and Teta Edition have been exhibited internationally from Paris and London to New York, Singapore and Monaco, each piece a small ambassador of whimsy, heritage, and light.

Transcript

Judith van Vliet: And welcome back to the last episode of the Color Authority podcast for this year, and it's a special one because I'm going to be interviewing designer Lameice Abu Aker out of Jerusalem. She creates at the intersection of emotional resonance and cultural memory, exploring how form, color, color and material embody the poetry of domestic rituals. Based between Jerusalem and Milan, where she earned her Masters in Furniture Design from the Politecnico of Milan, her work is fusing Mediterranean nostalgia with sculptural whimsic. Check out her brand that she founded in 2021. It's called Ornamental by Lameice, and it is a studio dedicated to glassware that blurs the line between sculpture and. And tableware. Good afternoon, Lames. How are you? And welcome to the Color Authority podcast.

Lameice Abu Aker: Good afternoon, Judith. Thank you so much for having me.

Judith van Vliet: You are. You're in Milan, right? Right now you are in Milan in Italy. My. My previous city.

Lameice Abu Aker: Yes. Very fantastic place to be. Yeah, it's a beautiful place to live.

Judith van Vliet: And very colorful as well. So that's, that's, it's. That's why it's a good place. In the end, you know, Milan is still a great hub for everything that is design and also that is color, I believe.

Lameice Abu Aker: Absolutely. I agree with you 100%. So it's such an inspiring place, full of inspiration and different approaches to design, combining that with a clear language. Actually, the Italian Milanese language, design and color, I would say. Definitely.

Judith van Vliet: So I still stick with the same intro question, which I think everybody now knows in the meantime. But I have a new final question, so you're going to get that one at the end as well. So I'm also curious to everybody's replies to that, but the first one still, for me, is still super important for the podcast, and that is what color is to you.

Lameice Abu Aker: Color to me is a form of emotional literacy. I would say it's the vocabulary we use before language fails us. I think also it's a way for us to deliver a frequency, a frequency of feeling or emotion or energy. And, yeah, we can combine it with objects and different forms. So, yeah, for me, I would say, yes, color is an emotionally literate language that we use to speak to each other and to speak to each other's feelings beyond words.

Judith van Vliet: Yeah, I always tell that my audiences as well, like, you can maybe you don't speak Spanish or you don't speak Italian or you don't speak English, but you can speak color and everybody can speak color. So that's something that we all have in common. Right. You Described your work. I mean, I've been following your work for a while now, and I'm happy to finally have you here with me. But you described your work as an existing between emotional resonance and cultural memory. So what early memories? Because I think memories are super important, and they really shape who we are as people and who we are as creatives. What early memories shaped your relationship with objects and rituals at your home?

Lameice Abu Aker: I will say I grew up in a city that is extremely sensorial. I grew up in Jerusalem, and Jerusalem can be very, very sensorial and very. Also full of emotion through color. Meaning that when you go to the old city, you hear the church bells, you hear people yelling, merchants yelling for you to, I don't know, grab a strand of mint or something, you know, to try the latest juice or. It's also. You also see people rolling the carts full of the very specific bread to Jerusalem called ka'. Aq. You see them going up and down, you know, pushing these carts, and it has a very distinct smell. So Jerusalem in itself, for me, was a very sensorial place. The smell of incense. I mean, it smells like a lot of things. It looks like a lot of things. In terms of color, I always felt also, you know, Jerusalem is known for its use of limestone, which is a very particular type of stone used in buildings. And it has a very distinct color as a city. It's a bit rustic. It's a bit. It's very warm. It also works very well with the colors of the rustic domes that we have everywhere. And so I would say, yeah, it has. Jerusalem has definitely its own sensorial elements and its own palette as well. And I feel like it definitely helped me understand the language of color in that way.

Judith van Vliet: So you work mainly with glass. For people who do not work or don't know your work, you work a lot with glass? Of course. How do you think that objects and glass can hold memories and can tell stories? Because your work is really about storytelling, and I love storytellers. I'm a storyteller myself. How do you think objects and glass, in your case, can tell stories that go from one generation to the next generation, which is also very typical from your culture and where you grew up. Storytelling is very much part of your growing up.

Lameice Abu Aker: Glass, I think, is a remarkable material for that specific reason. It's a very, very fragile material, but at the same time, it's eternal. I mean, we have artifacts that are dating back to millennia from glass. So the idea of that, it's so fragile, but at the same time, it endured all of these years of history speaks so much about the material itself and its ability to oversee moments in time and hold stories. So when you hold a glass that it's. It's so old in its age, and it has so many stories to tell. It has seen so many. So many periods of time. For example, the glass coming specifically from Palestine, this is one of our oldest crafts that we practice in the region. It's thousands of years old. So it has seen numerous cultures, and it's. You know, it stood the test of time, let's say. So in itself, even as a material, it has many stories to tell us. And I think the way I see glass is that I want to take advantage of its ability to transcend and to also keep its original identity and go on, even though it's. It could shatter in a moment. And that's what's ridiculously fascinating about glass. You know, it's fragile, you know, but it's also very strong and very endurance. So it's an interesting material, for sure.

Judith van Vliet: Yeah, yeah. And it colors beautifully. I mean, there's not a lot of people talk about color, and they think that just applying color to something is very easy. It's not. And I think you have a lot of experience together with the artisans with whom you work with. But the colors that you chose, however, are not always colors that are typical from. From your heritage and from your culture. You tend to use colors that are a little bit more pop or sometimes they're more pastel. Is this creating sometimes perhaps a clash, like, even within your family, like that? Somebody says, yeah, but these are not colors of. Of typical from. From Palestine or these are not the colors from. From Jerusalem. How do you balance, you know, the color palettes from what is very heritage with this culture and what you think is something that's really part of who you are as amis today?

Lameice Abu Aker: So I try to play a careful dance where I can respect my culture and the identity of the material within, you know, in that geographical space. At the same time, innovation doesn't mean disrespect. You know, you can carry that legacy and you can carry that weight of its cultural significance and yet play with it and introduce a sense of yourself. Who am I as a designer? I'm someone that is in love with color. I love the fact that color can provoke so much emotion, so much passion in a person. Actually, it can be a conversation starter. So I like to combine both sides carefully. And while doing that, also maintaining the respect for the artisans and their hand and their breath within the process so it's a careful dance between the three elements of my self expression, the weight and the identity of the material, especially within artery region. And then also combining that with the process. Process, which is fascinating as well. And, you know, the character that the object, the final object adopts is a combination of all these elements, plus the person who owns the piece adds their own completely their own touch, but also within the color palette. This was. It was me who introduced these colors to the artisans. And I think I would say that in the beginning, they were a little bit hesitant, and especially that the pastel colors are more fragile in glass, so they're a little bit more challenging in terms of production. But I mean, it added more fun and more vibrancy. And also, you know, it added also a very interesting character to the outcomes, you know, to the resulted.

Judith van Vliet: Yeah. How did. So you. You. You've moved to. To Milan at a certain point, or you're between J. Jerusalem and Milan because you went there for your master studies. Right. So how did that experience shift? Perhaps your designs. Did it influence your designs and your design language? Or was it. Or. Or perhaps it did not. You know, everybody thinks about Milan, as we said, as this design capital, but perhaps it didn't quite have that influence on you.

Lameice Abu Aker: So Milan was a deliberate intellectual decision, I would say. I will say that my. My language in design was always colorful, always whimsical with form, but I wanted to definitely expand my vocabulary and learn the grammar of the European approach to design, specifically Italian approach to design, because it's. It's very distinct, it's very elegant, and it's also a nice addition to the. Because in Palestine, we focus on craft, but the approach to the industrial refinement of product that I learned here in Italy is invaluable. I mean, I'm also very, very inspired by Italy, by the approach to design, by the precision, by also the.

Judith van Vliet: Curation.

Lameice Abu Aker: The curation that takes place here. So, no, definitely, Milan has been such an amazing addition to my experience and.

Judith van Vliet: Even more, I guess, Venezia and Murano, of course, which is. I mean, I think when you look at the history of glassblowing, I think the history is not Italian. We are quite sure that the history lays in what we today call the Middle east, or it's actually probably very close to where you are still doing most of your glass ploughing, which is Haifa. Right. So it's beautiful that this is where glassblowing was probably born. But then the Italians had this whole new way of completely, as you said, industrializing it. Commercializing it, I mean, because they're great salespeople. You know, they're great creatives, but they're also great salespeople. And I think everybody, when they think about now, Venice, or they think about Murano, they think about glassblowing. But it's a quite different process because they use now industrialized processes. They use molds. You still do not use molds. Everything is still done by hand. Correct.

Lameice Abu Aker: For me, it's, It's. This is a very important aspect of my work because I want. I. I'm interested in the raw experience of. Of the material. Meaning that I think the final result, the final piece that we hold after all of the experimentation process and all of the play, let's call it a play, because that's a more fun way to look at it. But definitely it's all part of the final character. So I'm trying as much as I can to deliver something that is completely raw in order to also transmit that effort and that hours, long practice that goes into each piece that we make. I'm not interested in perfection and I'm not interested in a unified approach to my pieces. I mean, they're unified in terms of their design, but each piece goes through a totally distinct. You know, it goes through its own autonomous experience. So from start to finish. And so I think using modes with limits, that uniqueness a bit. It will make it look a bit more controlled. The piece. It will make it look. No, but I want to keep that human aspect and the breadth of each piece.

Judith van Vliet: Yeah, I think. Indeed. But I think you're doing quite the opposite of what most people do. They want to control. They want to control the color, which in my industry is still one of the biggest things that they want to control. One design needs to look the same as the next, and the next and the next. But I think this is exactly what you said. That's the human part of your design, is that they all come out differently. And while you're working, you don't know what the exact. Okay. You have a feeling of what the outcome will be, but it's never a given. So you're actually letting go of the controlling process in your work.

Lameice Abu Aker: Yeah, I guess. I mean, I didn't. I've never seen it this way. I've just seen it as a difference between classical and jazz music. I mean, it's just a little bit more organic, it's a little bit more playful. There's a dialogue with the gravity, the forces around hps, the memory of the heat. I would like to Keep that. You know, for me, it's an essential part of my work. Specifically, I'm also interested in that makes me think about the Japanese. Japanese concept called ma, which is respecting the void. You know, the respecting the void between the space and the object. Having it be too perfect will eliminate that ma, I would say.

Judith van Vliet: Yeah, I think generally. So I do a lot of strength work. I think generally we're moving away from perfection because as humans, we are not perfect. And I feel that we're starting to notice that we're not perfect finally. But I think that also makes us not want perfect objects and perfect designs that we're looking into. You know, the humane part of things. When you talk about your process, you just talked about it really quickly. But what is your design process? From concepts to you going to your local artisans with whom you're going to explain what you're looking for. Right? I mean, you have to explain them what you want, what you need, and they are, in the end, the executors. How can you talk to us a little bit about. About this design process on what your method is?

Lameice Abu Aker: Well, the design process is usually goes like this. It starts with sketches, with ideas, maybe in some inspirations that I get. And as a result, I will start to sketch or do sometimes 3D designs, depending on the object. The second. The. The. The second thing to do would be to. To start the experimentation project process. So I go with my idea to the artisans, and I say, okay, this is what we want to. This is our next design. How are we going to produce it? And how do we. How do we work around it? Sometimes the designs can be very challenging for the material. They can be. So the. So then we go through the. Another process, which is the experimentation process. And it's not always, you know, the object that comes out is not always the initial sketch or the initial design. Sometimes while we're working, we. We come across something. For example, I have a piece which is the. I can. The espresso set, which is like a. It's an espresso, a cup with its saucer, which is like a plate. So initially we wanted to create a. A plate that is more flat. But then while we were blowing, while we were experimenting, suddenly the heat became. Became too strong and the. And the plate flipped completely. And, you know, I said, stop. Okay, this is how we're going to go with it. So this is. This is the final result. I love it. You know, we love it. And then. So this is how sometimes it happens. We just come across some through the making process. And we say, okay, pause. This is what we want. And sometimes we go with the initial idea more, but definitely also with the shaping. Also accidents happen and we like it and we adopt it, and that's it.

Judith van Vliet: It's very often that errors have become a new aesthetics, but sometimes also the recreation of an error, it's difficult because how can you repeat a mistake? It's the same as creating perfection. Repeating a mistake also is difficult because the mistake, sometimes you even. You don't know what you did to make that mistake. Right. Or that error.

Lameice Abu Aker: Yeah, that's true. Well, luckily we didn't. We have managed to go. To go back through the steps. So.

Judith van Vliet: Yeah, yeah, you just called just a while ago. You called your pieces characters as well. Tell us more about how you see them as characters. I mean, I can clearly see it from the lines, but I mean, I'd like to know how you see them yourself as the creator.

Lameice Abu Aker: Yeah, I think, you know, it has firstly to do with the fact that I like designs that are not too serious. I mean, they are a bit. I would say they have their own structures, but at the same time, they do, if you notice, have a small glitch within their design, which I think someone actually, a critic, someone said that they look like they have a glitch. And I love that idea. So interested in that whimsical approach and the fun, playful approach to object and that objects, they can be characters. They're part of our conversations. They're sitting on our tables while we're going out, while we're sitting and having a conversation with the family or at a date or something. So these objects are part of our lives. So I do see them as characters, but I also see them as characters for the frequency that I try to deliver through the color palette that I choose, but also through the process of making that they go through. So all of these elements kind of make it in the end into this character. For example, color also can change the character of the object, meaning that, for example, a glass can be made in soft, transparent pink glass, and it will look elegant, refined, and so on. But then if we make the same piece in pastel pink, it suddenly becomes a bit more empathetic, a bit more playful, softer even, in my opinion. So each object takes on its own character, but also through the. The process. It's funny because one of. For example, one of the objects I have is the eye candy cocktail glasses, which have. And even, you know, in. In their. In the making, just because, you know, as. As we mentioned before, we don't use mold. So the. The legs they're standing on could look very differently from each other. And that results in its kind of almost human like character that it adopts in the end. So. Yeah, yeah. It's always fun to see what kind of creature they come up to be, I would say.

Judith van Vliet: So when you think about. So talking about dreamlike or eye candy, for example, they all have their very distinct characters, like you said. Right. How do you. How do you start when you think about color? Is it first the character, Is it first the shape, or is it first the color? Like, where does color come in in your design process?

Lameice Abu Aker: I would say first I think about the form. First I think about the feeling, actually. The feeling, the idea of the piece. For example, I have a collection, the last collection, which is the Theta edition. And it was. It was. It resulted from my. I was thinking about the memories, my childhood memories of home with my grandmother. My grandmother had this cabinet. I don't know if you had. Like, maybe everyone did this cabinet of glass, you know, this cabinet where they put, like, table and glass.

Judith van Vliet: Right?

Lameice Abu Aker: Yeah, yeah. And for some reason, in many families, my family for sure, I wasn't allowed to touch it until I became a certain age, but I wasn't allowed to touch it, and it stuck with me, you know? And my grandmother treated these pieces inside this cabinet as her treasures, you know, so when we are in these familial moments and when we're visiting her on the weekends and she takes them out of the cabinet, she places them, and there's this whole ritual around it that is very familial, very warm. There's even the sounds of the sugar spoon spinning inside the teacup, the smell of the herbs like za' atar and so on. So it's also very sensorial again. And so I wanted to recapture that. I wanted to think, what would she keep in her cabinet right now, based on the rituals we had, and what rituals could other people have that would make them want to adopt these pieces and put them in this cabinet and treat them, you know, as these little treasures? So I. This was the process of thought. But for this. For this collection specifically, the colors were a bit more different, so they were a bit more subtle, a little bit more mature. So in this collection, for example, I did not use as much pastel and playful colors. It was more about the. The forms, the form itself. So I played more with the form.

Judith van Vliet: It's funny how. I mean, I'm. I'm a porcelain girl as well. Like porcelain. Everything that is, you know, and my husband totally doesn't get it because he's just like, so are we using it or are we not using it? Is it. So it's literally my. So the, the cups, the teacups of my grandma from both my grandmas, they're sitting next to my pieces of art in the same bookshelf. Because that's a little bit how I also see them. So it's, it's. And also when you were talking about, you know, the, the sounds of the. And then the smell of satar and everything, I was there, like when you. I think that's also how we can make design that's sensorial and design that feels like one single object. Right. It's unique and I think it's uniqueness. You can only do that by how you're doing it. You know, going after the imperfect hand crafts. I mean, you work with the local artisans. Tell me a little bit more about them. Who do you work with and how. How do they look at your, let's say, whimsical designs that are quite different, I guess, from the other glass that they're normally blowing on a day to day basis.

Lameice Abu Aker: When I first met them, I was fascinated by, first of all, the craft of glass. It's a beautiful. It's a very dreamy process, the glass making. It takes you to another place. I don't know if you have been or have seen glass in the making. It's totally dreamy. But. So I was fascinated by the process, but also by the story of the family who have also inherited this craft from a generation today.

Judith van Vliet: Next.

Lameice Abu Aker: And everybody in the family participates. So usually these types of artisanal crafts have men working in furnaces. But within this family, everybody was participating. The grandmother, the grandfather, the children, even each to the tasks that they were able, of course, to. To carry. But in general, everybody was participating. Everybody's taking part and they. And they blow the glass in a small two room space in their house. It is not a big factory. They call it the factory, funny enough, very small space in their house. And everybody participates and they teach each other, they teach each other techniques and ideas. But also, I will say, the lead, the lead blower is also, you know, in the beginning, I will say there was a little bit of resistance, but then we slowly understood each other's languages and approach. I learned a lot from them. And there's always a continuous dialogue. Until now, of course.

Judith van Vliet: What was their resistance?

Lameice Abu Aker: I think it was the fact that the pieces looked a bit awkward, a little bit strange, and that they you know, they have to be balanced a certain way. And also in our first collection, the eye candy collection is an extremely challenging collection to make. For example, the body of the piece or the original form would be a certain heat because this, this collection is special for its intersecting circles. And these circles, when they're made, they're usually very, very hot and they have a very high temperature of heat. And they're being inserted in a body in a form that is lower temperature of heating gas. And inserting them together, inserting the circle within the form is actually super, super difficult. And the glass could break. And it did break. We broke a lot of glass. But, but I mean, the final result was really fun. And to get to a point where our experimentation process succeeds was really rewarding for all of us. And you know, I was inspired by the dedication that they have. For example, the lead blower would sometimes wake up in the night and write on, on his notebook some solutions on how he can use this piece for a certain piece. And then the next day we will go and experiment. So it's. So the whole, the whole process is also very fun and I was lucky to come across such open minded artisans as well.

Judith van Vliet: Yeah, and you're also pushing them, you're making them sometimes create new things that they didn't expect that they could make, you know, which is also a beautiful process.

Lameice Abu Aker: Absolutely. But I, I think, I think it's, it's fun for them. I mean, it's becoming fun, I hope. But yeah, the, the process itself is, is very fun because it's challenging because generally they would, they would have to make more, you know, contractual pieces, let's say, for example, with labs or with, for, for certain industries. And so for them to work with designers is a touch of fun and it brings them back to the craft as a craft and not as a production.

Judith van Vliet: Do you think that contemporary designers like yourself, do you play a big role in keeping heritage crafts alive? Because I think that's very much what you're doing and also how you're going against cultural cancellation, because there's a lot of cultural cancellation going on. You know, there's this gentrification of, you know, global design, global looks. I mean, when you travel, everything just looks the same. We eat the same, we dress the same. Is this something that you think designers can help in, you know, to keep heritage and, and these craftsmanships alive?

Lameice Abu Aker: I think there's a threshold and there's a peak that we're going to hit from just seeing everything copy copied and pasted for us. To use. You know, we're not machines. We're human beings. And we have. We have a connection with our surroundings, even if they were objects. We have a connection to nature, to people, to. And I think this human element also is very important for us. So when it's translated into an object, in my opinion, you like it more when you know the story behind it. When there's a. You know, when there's a human story behind it, it's just. It's a little bit more intimate. And I think people are realizing the value of that. The more time passes with us being subjected to all of this bombardment of products that are copied and pasted and manufactured in masses. And it's a luxury to be in contact with works that have human stories behind them and long stories behind them, and intimacy. And this is also part of my work is trying to invite intimacy between even the owners of these objects and the object, but also to each other. I like to think of my pieces as conversation starters, poking fun. You look at an object, it looks, you know, interesting. And you ask the owner of it, why does your copy look like that? You know, so it's a. It's a. It's this. This process. It's interesting for me. And this is the type of feeling I want to leave. I don't want to be. I don't want to impose. And I think I want the owners to let it speak. To let these pieces speak and speak to their pieces and create their own stories in relation to these objects. I just want to kind of provoke it.

Judith van Vliet: Provoke, but indirectly. Right? Because it's up to them, when they see your piece, what story they give to it. Because all your pieces are also unique. Right? There's. I mean, if you hand blow, not one piece looks. Is the same as the other.

Lameice Abu Aker: Exactly. So there is. So I have so far three collections, three main collections, and some showpieces as well. And they have, let's say, a unified design, but as we earlier mentioned, that each piece goes through its own organic process, which results in a completely irreplicable piece. You cannot make. You cannot. It's not repeatable. The piece itself. Even if you can make a piece exactly, you know, you can make a piece similar to it, but there's. It's not possible that they will become. No pieces. I have. No two pieces are ever identical. They cannot be. It's not possible. They have different process behind them. Different. Different breaths, different air in the lungs of the. Of the blower, different amount of air that they blow. So it's it's impossible for the two pieces to look exactly alike. And that's exactly what. What I want, you know, and that's.

Judith van Vliet: What I can now think about. You know, what you just said. We have elite blower, and then you have other people on the team. I mean, I think for a lot of people, when you say that, people think about lead singer or, you know, chef, like sous chef or chef. But it's true. I mean, I hadn't thought about that. Everybody who blows, obviously a piece is having a different respiration, a different force, a different everything. Even, you know, how they fit on with their mouth on the piece. Everything is different. Everything makes it personal.

Lameice Abu Aker: Exactly. Exactly. That's why the design itself is made in a certain way. And then the color it adopts adds more character. But then also the process of blowing adds another layer. So it's in itself, each piece is just very layered, very layered.

Judith van Vliet: Before, for some reason, I said Haifa, but it's not Haifa where you're doing the glass blowing. It's in Java, right?

Lameice Abu Aker: Yes. It's in a small village called Jabba, which is a. It's close to Jerusalem. It's in the West Bank.

Judith van Vliet: Yeah. Right. I don't know why I thought about Haifa. That's because. Probably because my friend here from Madrid, her family is from Haifa. I'm probably just. That's why it sounded familiar, but it's not. So it's. So it's. Yes, it's west bank now. I am indeed connecting again, the two names. Indeed. Yeah. So it's at least close to. It's close to Jerusalem. You don't have to travel too far so you can have a direct, good relationship with your artisans as well. Yeah.

Lameice Abu Aker: We do have to cross some checkpoints, I would say. But, yeah, yeah, I mean, it's. It's close. Close enough. Yes. Yeah.

Judith van Vliet: Hopefully you can continue. Continue to work and make beautiful designs and make new designs and new collaborations. What. Is there something you can share about future materials or future collaborations that. That you're curious about exploring?

Lameice Abu Aker: I would say that I'm increasingly drawn to materials that carry environmental memory. Interested in materials that have connection to land and soil. For example, ceramics. Ceramics are. That's very interesting material for me. Yes. I would say earth and fire elements are very interesting for me, but in general, I'm a versatile person. I'm drawn to. Attracted to materials and textures and textiles and the feel of different materials and what each material delivers to you. So, yeah, I will say that mainly I am interested in materials that can capture environmental Memory. But I'm at the same time always interested in learning, always curious.

Judith van Vliet: I'm curious what you're going to be doing next. Exactly. I think everybody is going to be. Who's listening. I have one last question, which is my new question. What is your color power? I think we all have a color power. What is your color power?

Lameice Abu Aker: My color power, I would say maybe it's saffron amber, which I also use in my work quite often. I think it reminds me of Jerusalem and it's stone and it's hour before sunset. The entire city seems to generate its own light. In a way, it's a color that carries heat. History, and in my opinion, hope, because it's warm, because it invites connection, it's also a very rich color. It's an assertive color as well, without being aggressive as that. I don't know if you see it as that too, but, yeah, amber. So I will say, I don't know if I'm answering your question correctly. If this is what you mean by color power is to choose a color and say it's significant, but.

Judith van Vliet: Well, it's your significant. So it's your color power. So saffron coming from obviously also your heritage, the city where you were born and growing up. And yes, indeed, yellow can be aggressive, but not the sunset yellow. So I mean, that's. It's. Yeah, I think sunset yellow is also this color of hope, you know, hope of. Of a new day, hope of a better day. So I think, yeah, it's definitely your color power.

Lameice Abu Aker: Then a bit more amber, I would say not as much. Not as yellow.

Judith van Vliet: So going more orange.

Lameice Abu Aker: Yeah, a little bit. It's like in between the sweet spot. It's almost honey color.

Judith van Vliet: Honey color.

Lameice Abu Aker: Between saffron and honey color. I was say. Yes, this one. Yeah, that's why I said it's warm.

Judith van Vliet: Yeah, exactly. That is your Kali power. Yeah. Saffron. Saffron, honey yellow. Thank you so much, Lomis, from sharing all of your stories and your knowledge with the podcast. And I'm very curious to see what you're going to be doing next. Thank you so much for your time.

Lameice Abu Aker: Thank you for having me, Judith. I wish you a lovely day and I hope the listeners enjoy this talk. And yeah, thank you for having me.

Judith van Vliet: I hope you enjoyed this last episode of this season, season six already. I can't believe we're at season six. And at the end of 2025, I look very much forward to come back with you with new episodes of amazing creative people from all over the globe. In 2006. Wishing you happy holidays and be back here end of January.