Tatreez Talk
Tatreez Talk is a the podcast that stitches together the vibrant narratives of Palestinian embroidery! Join us as we chat with talented embroiderers and artists, sharing their stories, inspirations, and the cultural significance behind each meticulously crafted piece. Thread your needle, press play, and let the stories unfold…one stitch at a time.
Tatreez Talk
S7E4. A Grandmother's Craft, A Granddaughter's Vision with Teta Zuhria & Suha
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MEET THE DUO BEHIND ASHGHAL EL TETA: TETA ZUHRIA, A TATREEZ ENTHUSIAST AND CRAFTS LOVER & SUHA, AN INTERIOR ARCHITECT, TATREEZ ADMIRER AND LOVER OF ALL HANDMADE OBJECTS (@ashghalelteta). Through Ashghal el-Teta, they’re creating tatreez-inspired artwork that bridges tradition and modern design.
Teta Zuhria's love of tatreez started as a child in a small village near Hebron, nagging her own mother and grandmother to teach her the craft. Suha, an interior architect, grew up watching her mother stitch and eventually joined her — bringing an architect's eye for space, color, and storytelling into their shared practice.
We talk about how their signature piece, Bab al-Dar (a tatreez-embroidered door), came to life, and the deeply personal commission for their friend Dina, recreating the door from her family's home in Gaza using photos from a family celebration. Suha shares how she digitizes and deconstructs traditional motifs "like Morse code," while Teta Zuhria brings decades of stitching mastery to every piece, and the two open up about their process, their color-palette debates, and what it means to name their business after the moment Teta Zuhria became a grandmother.
You’ll hear about:
>> 1:30: Teta Zuhria & Suha’s connection to Palestine
>> 2:22: Teta Zuhria’s tatreez journey
>> 5:00: Suha’s tatreez journey
>> 7:32: How Suha’s background in architecture influenced their approach to tatreez
>> 11:05: A commission for Dina & details behind Bab al-Dar
>> 18:54: Becoming a teta as the impetus for Ashghal El Teta
>> 21:59: The takeaway for customers and the process of commissioning
>> 29:20: What’s next for Ashghal El Teta
>> 31:13: Influence from Khalili traditional tatreez
>> 37:00: Life lessons from tatreez
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Hi, Stishers. Welcome to Tatriz Talk, where we share conversations about Palestinian embroidery. I'm a Manny here with my co-host Lina, chatting with talented embroiderers and artists, sharing their stories, inspirations, and the cultural significance behind their work.
SPEAKER_01And on today's episode, we are chatting with the duo behind Ashkal al-Teitah, Taita Zuhriya, who is a Tatriz enthusiast and crafts lover, and Soha, an interior architect, Tatriz admirer, and lover of all handmade objects. Welcome to Tatriz Talk to you both.
SPEAKER_03Hi Lina, hi Amani. Seriously, we want to thank you for your time and efforts in organizing this interview and uh giving us the chance to uh present our work and also talk about uh Tatriz. We can do this all day.
SPEAKER_01Yes, you are in good company.
SPEAKER_00Yeah, and the work that you guys do is absolutely stunning. We'll talk about that um in a bit, but um people are definitely going to be all over your work. It's it's really beautiful. Um, but before we jump into that, we love to kind of start episodes and allow the listeners to get to know you guys a little bit more. Um, so why don't we start by sharing uh a little bit about you and your family's connection to Hallestine?
SPEAKER_03Absolutely. So we come from a small village in uh Palestine. It's called Samoa, it's uh near Hebron area. Um I did not grow up there, but my mom did. Um I was born and raised in Dubai, so um my connection to Palestine basically it was literally through her. Um we would go back and visit every couple of years, but uh yeah, I mean it's a small village, it's um filled with uh so many childhood memories, honestly, and uh it has a special place in my heart, absolutely. So um maybe I uh I will talk a little bit about the um my mother's connection to Totriz. Um honestly, like I don't remember um one day passing without my mom stitching. She would always always have uh a side project, a side hassle, and these projects they vary. Sometimes they take months to finish and sometimes just only days uh to do. Um but I have like one of my earliest memories of my mom sitting, sipping tea, quietly stitching while like the TV is on, playing in the background. Um she would always um, as I said, have a project in hand, completely absorbed in the in the process. And she would be always curious about the different uh motifs and what they mean. Um, I carried this curiosity from her. Um she even tackled at some point Eastern European embroidery art, um, which is very it has a very similar technique to cross-stitching. Um, I think her deep affection started when she was uh around seven or eight years old. Um, you know, growing up in a small village, you don't have a lot of entertainment, I would say. So she would nag on her mom and her grandmother to to teach her tatries. Um so uh yearning to learn the cross-stitching technique from her mother and grandmother. Um, they would often um make her redo the pieces because they were not perfect according to their standards. So yeah, so that's uh basically she would tell me stories about these things. Um, but she always craved um doing her own thing, like um developing her own sense of how motives they come together, how to deconstruct the different uh patterns and uh reconstruct them in some um a unique way. She would hide her work openly, uh, just because she wanted like to work on a singular piece and present it to her grandmother and her mother eventually when the pieces are completed. So she would experiment using colors, using different patterns, and um as an architect, I joined her journey. I was always curious about the meaning of the different motifs as well. And together we created this um sort of uh personalized artworks that blend uh traditional uh our traditional heritage with the uh contemporary in a contemporary context.
SPEAKER_01Yeah, yeah, I really want to hear more about that, but before that, I wanted to ask you about your Tatriz journey. How did you get inspired to practice and work with your mom like with the actual stitching, or are you thinking more about well I I do, um I'm not very comfortable with the Teltrees.
SPEAKER_03I'm like I'm doing it at a snow snail pace, honestly. Like it's it's pathetic, it's uh it's really embarrassing. I don't want to talk about this. But usually I I would love spending days and weeks working on digitizing the artwork. So my format is a little bit different than yours, um, and my mom's as well. So basically, I would spend weeks um doing like different patterns, and I love deconstructing motives. It's it's almost like Morse code in a way that you're trying to figure out like the different puzzle pieces and the way you put them together, it has it would have a different meaning. So um I'm obsessed with this, honestly. Uh, we co-founded the this project actually when she became a Theta. Um, so it's just to pay homage to her own Theta and uh maybe to pass it on on the next generations as well.
SPEAKER_00Yeah, that's really beautiful. I love that like string of connection. And we always say there's different ways of doing Tatris, like you know, we uh art has evolved, and so we've seen and talked to so many people who've incorporated tautries in in different ways. Um, and digitizing is hard. Digitizing is a lot of I'm I'm curious too much with colors. Oh, yeah, definitely. Playing around with colors is like that's the hardest thing is like landing on what colors I want to like do. It's always the same.
SPEAKER_03We always have a fight over colors. Mine is because I'm an theater architect, so mine is more muted. Hers is like she has a good fight for picking colors, but she's saying she gets upset with me over this, but yeah.
SPEAKER_00We try, we try, we manage. It's the blending of two personalities. Yeah, absolutely. You mentioned that about being an architect, so um, I'm curious if you could talk a little bit more about how your background as an architect has really informed your work with Tatris.
SPEAKER_03Um because as an architect, um we spent almost five years studying how to be the architect of the society, and they teach you this thoroughly. But uh the idea of um maybe mixing media in which the Tatris is not even, it's not sitting in the background, it's it's actually it has a story, and uh bridging the gap between um the uh tradition and modern Palestinian creativity is such there's uh so many ways to do so. And I think it's it's about storytelling and mixing different media, and something that resonates with people when they look at your artwork. I want the the Tatris to jump out, to to um you know, bridge the gap between them, the to um for them to have a story and a real connection to it, um, rather than having uh an aesthetically pleasing piece, you know. Tatres in itself, it's rich, it's so rich, it has so many layers, but how can we develop it and take it to the next step? So it becomes part of our um daily routine or daily lives, it becomes part of our modern spaces. Um, that was a challenge, honestly, because it there is because it's a very uh it's an enter piece that you spent weeks developing and how you can um develop it in such a way that um have a deeper meaning and a deeper connection. That that's the real challenge for me. Um, but you know, studying architecture, um, you're taught about spaces, about how you um um can um also um write your own story through the space. It's uh it's something that we share with Totris as well, and um I feel like um it adds another layer uh to our crafts.
unknownYeah.
SPEAKER_01Yeah, that's that makes a lot of sense. And now it makes also sense why you have this kind of uh almost, I guess, a collection maybe or approach with the doors. Um bad and dot. Uh and so I guess for our listeners, the reason I came across uh Ashkal Teta is through a friend of mine who had commissioned a piece from you guys. Um, and I'd love to hear that story because I know the story from her perspective, but I'd be curious to hear, you know, how did she come across your work and um what did she ask for? What did it mean to her? How did you go about the design? Um, because I think that really showcases that that kind of collection that you guys um include as part of Ashkaliteta.
SPEAKER_03Absolutely. Uh now the friend that you were referring to, uh Dina, she's she's amazing. We cannot vouch enough for her, honestly. Like we love her. Uh this particular piece was specially um dear to our heart because at the beginning she shared um a couple of photos uh from her family collection family album. And it wasn't for the door itself, it was for a family celebration or um the bidding farewell to a family member. So it wasn't the main focus in the photos, it was the family, the connection. And the the door is sort of in the background, you know. And um once I knew this uh particular door was in Ghazzah, it's it's part, it was part of uh her home in Gazza. It it was it it had a bigger meaning uh to us. Um you know we we hope one day she will be able to rebuild her home, you know, using the exact same door, perhaps, inshallah. Um every piece that we create um carries the story of our heritage, but but also uh it has a a deep meaning sense of belonging with the family ties as well. Um it particularly Babadar, it's it's um doors have a very special meaning to me. I'm obsessed with them. Uh, I think we we spend a lot of time at the doors, you know, saying hello and goodbyes, and uh we're also connected in a way uh that symbolizes the uh the right of return as well to some people who never set a foot in Palestine. So it it's uh it's honestly like um it creating artworks like Babadar that resonates with many people allows us to share um their stories and their memories, uh really founded memories. Um it creates also the space to celebrate this rich embroidery art in a way that Palestinian culture, in a way that feels more uh personal and also timeless, because it it might be like um I have memories of our door in Palestine. It's uh it it has such a character and it has um like a very specific color. It's an ugly color, but you know, it's it's it's part of our memory, but you know, it's uh it's um it's part of our memory, and uh believe it or not, we spent almost like uh being a Middle Eastern, you you probably know this. We we spend um so many minutes saying goodbye to the guests, inviting them back again for another cup of coffee or something, uh saying hello would take forever, especially with my nephews nowadays. It's it's basically like we could spend like a good 15 minutes on the door. So um for specifically um for a client as Dina, it it brought tears to our eyes, honestly, because it meant so much to her and her family. So it it was um it's an honor, all honestly, to to be working with um such a beautiful client and also beautiful memories. Yeah, she's saying she she stitched it with all of her heart, honestly. It it's uh yeah, yeah.
SPEAKER_01And I'm curious about like I I'm looking at photos and I'm I'm we're having such we're very bad at like remind remembering to ask our guests to share photos because we can put them on the screen, but we'll hopefully share them on social media later. But I'm looking at some of the photos and I know that um like I'm curious about the actual it's like you can see the talkries and you can see the design, but the door itself is a different material or it's painted. Can you just can you share more about that?
SPEAKER_03Yeah, the door itself, we we always have to develop our own craft. So at the beginning it was a cardboard, but it has layers, so it has that 3D element that projecting out of the uh the fabric itself. But later on it became uh evident to us that we needed something that is resembling the actual door to make it more realistic. Um the in the case of Dina, it was a cardboard, but we incorporated elements with 3D. Um, some of the doors they're wooden, um, they're laser cuts. So we were trying to incorporate as well modern technology, not so modern, but you know, laser cutting techniques into our crafts. That's where the architecture comes in hand.
SPEAKER_00Yeah, that's really cool. I'm uh I'm curious, like what do you see the next evolution of this collection being?
SPEAKER_03Um now the amazing part is um because you can it's uh uh we usually make it to order, so basically it's completely customizable. Um the uh the amazing thing also is you can stitch the family name on top of the door or the the city name or where you're from in Palestine, so it becomes actually yours. I think that's uh an amazing part, but maybe developing it in such a way that the door looks like a miniature of the actual door. So we're working on it, so that's uh would be taking it to the next step, and even like incorporating um things in the frame uh would make it a little bit more um, you know, we we try as much as we can to create this harmony between our modern interiors and then uh the the way we frame our artwork. So we're working as well on it. Um we do have uh three different patterns for the uh Babadar door, so you can pick and choose, you can pick all three of them for your dining, like a long dining table. So it's um it's basically a mix of uh both. Um I feel like it would be more realistic if I actually can open the door and maybe like um we're still working on it, but yeah, yeah, that'd be cool. Something more interactive where you can move things, you can hide things perhaps, maybe your keys. Um it becomes like a key hanger, something like that. Yeah.
SPEAKER_01Oh, that's cool. I like yeah, yeah. No, I like those ideas, and I that's the architect is speaking, um beautiful. That's wonderful. No, I love it. Um, I wanted to ask, you mentioned that you created Ashkal al Teta when uh Teta Zubriya became a teta. Um, I'm curious about can you share more about why that specific milestone felt like it was the right time to create it? Was did you not have any, like, were there any other reasons why you wanted to sell Tatriz as opposed to just making it for the home?
SPEAKER_03At the beginning, we weren't thinking about doing it as a business, honestly. It was just um something to share online. And uh just to tell the world that it it could have different colors, it could have different patterns, and you can modernize it to use it um as an everyday element in your home. Uh, we're used to pillows that are in black, um stitched in red, so it doesn't really go with the whole aesthetic of our homes. So that's our starting point, I guess. And then it became evident to me, honestly, because at some point you need to grow um uh in in such a way that you know uh you want to share this talent, you want to share um the these artworks and these art pieces with uh everybody else. Because uh at the beginning, uh I think we started honestly with Babadar as being um an artwork at our house. And then after that uh we were commissioned to do a couple of them. Uh so that's how we started uh playing around with uh Totris in a more architectural way, I would say. Um when she became a Teta, I think it it um resonated with her that she wanted to pay homage to her own Teta as well who taught her this craft. So um it's it's something to develop and uh to continue growing um to the next generations, I guess.
SPEAKER_00And with that, I'm curious what do you what do you want your customers or just people who come across your pieces, what do you want them to take from these pieces?
SPEAKER_03Yeah, uh our goal isn't just making art, honestly, it's telling a story that connects generation and yes, while embracing um new concepts that represents modern Palestinian art. But we want to bridge, uh, we want to celebrate the dynamic synergy between tradition and modernity in a way that resonates with these um with these clients, like in case of Dina, it it holds something to her, it means something to her. And luckily, like most of our clients were blessed, alhamdulillah, uh, with amazing clients that you know they understand our message and they understood what we're trying to do. And you know, luckily they um we're aligned in those terms. Um, it's basically honoring um our craftsmanship in such a way that has uh a meaning, a deep meaning, um, and um in the spirit that also um creates um a space for innovation in a way.
SPEAKER_01Yeah, and I I remember when Dina got it completed, she sent a photo of her holding. Um, she was so excited to to share it. So I think it's also a great opportunity. I mean, one, it's preserving part of her story, and she can now share it with her kids and with her kids' kids and um and so forth. But I'm sure I am 100% confident that when she has guests over, she's probably like, you guys, come look at this beautiful piece that I got commissioned, and she can talk about this. Is this the report? Yeah, like this is the door from our home in Ghazzah, and you know, and she can tell everyone that story. So it's it's also something to to talk about. And help show showcase the art form of the prize in a in a way that's a little bit has like a very personalized touch. Um I'm also curious about like yeah, and so I'm really curious about if a client comes to you and they show interest in either Babel Dot or maybe another different type of piece, um, what happens after they kind of place their order? Like how how is the dynamic between you and Teta Zohria um as you like actually create the piece? Like I'm curious about um how you guys work together. Do you digitize first and then she stitches? Like, how does that process look like?
SPEAKER_03Okay, honestly, it depends on the project itself. For example, uh for Babadar, uh the patterns are already set, so my job is done almost, but then uh comes the idea of choosing like a color palette, so that's when the fight happens usually. I'm all for you know creating a muted, more uh a peaceful kind of uh color palette, but subhanAllah, she has like an eye for picking colors that go together. I should listen more to her. I know it's on the record now.
SPEAKER_02Yes, oh oops. I need to call my lawyer right now.
SPEAKER_03So basically it's it's uh it starts with picking the threads, and we always um need some feedback from the clients. So basically, we would tell them what's your color palette at home? Where do you want to hang the pieces? Is it your home? Is it your office? So we start off with a basic kind of uh color palette and then we build on it. Um we usually have like uh, especially when it comes to picking colors, I feel like it the um it would be more interesting if you have um two colors from the same family, and then you add on it. It it just helps with the uh composition as a whole, it it ties it together. So uh we start with that, and then after that we need their approval because at the end of the day, it's their home they're gonna hang it, and or their office. So um it's it's it has a lot of back and forth between us and the clients. So we agree on the color palette, uh, on the type of wood that we're gonna use, and on the shape of the door, because we have so many um the variation of the door. Some would have steps, others would have like an arch uh to the shape, and then we work with accessories and the type of the frame uh that they want and so forth. But that's basically the process, and the stitching is all done by her.
SPEAKER_00Yeah, I'm okay. So I'm a slow stitcher, so how long does it take to stitch like these pieces? Because they're they're beautiful, they're they're intricate. So how long does that process take?
SPEAKER_03For example, Babadur, it takes around 10 days to two weeks to perfect. Um, so basically, uh it's we're not fast as well. So uh we take our time and we we try as much as we can to perfect it because we don't want to do a rushed job and you know it we don't work with uh deadlines, luckily. Um so and our clients they do understand the uh that it takes time, it takes um a lot of uh sleepless nights, I would say, but you know, uh eventually they would have something that uh they will be proud to present to whoever visits their home.
SPEAKER_01I mean, 10 days to two weeks is pretty quick in my book. Yeah, yeah, although that's really fast. Yeah, yeah, that's amazing. That's amazing.
SPEAKER_03Um saying, no, no, I'm I'm slow.
SPEAKER_01Don't believe I'm sure Allen, it speaks for itself. If it's two weeks, that's pretty fast.
SPEAKER_00I think she's defending herself, she's messaging at life. That's what she's saying. Wow. Honestly, that's like very I think also it's just again reiterating to people like this is not something that gets done overnight. Um, it is a lot of work, it's very intensive, it's very detail-oriented. Um, and if you haven't, if you were listening to this and you still have not stitched, like please pick up a needle and thread and stitch so you understand what goes in. Because like two two weeks, even if she is just doing it at night, that's still a lot. That's a lot of work. Um, that's a lot of work to put into um to a piece. So um, yeah, it's it's always very impressive when you see someone who can build something um and see it from beginning to end.
SPEAKER_01Yeah. Um, so hi, you mentioned yeah, you mentioned some like ideas that are floating in your mind and things that you want to explore. But what's really next for Ashkal Al Teta? Like, what do you what are the other projects that maybe you guys are working on right now? Um, what are what are we looking forward to? Yeah.
SPEAKER_03Thank you. We uh just started working on one artwork. Um, we cannot share a lot of details until it's it's done, but um honestly it's not a good start because we're already fighting over colors and like the session. It's it's a little bit it it requires more patience, and I think it will take us around one to one and a half, one month and a half to to perfect. It has a lot of stitching, but uh we're really excited in exploring that. Uh, I cannot wait to share it with you once it's done, honestly, because we've never we've done something similar to this, but not as as detailed as this one.
SPEAKER_01So is it related to Bab and Dart or it's like completely different, completely new?
SPEAKER_02You know what? It is, it's basically the plural of Dart, basically.
SPEAKER_01Okay, okay, okay. Well, I guess I'll be able to do it.
SPEAKER_02Exactly.
SPEAKER_03Exactly. It looks like a backdrop of a certain city.
SPEAKER_01Okay, I'm excited.
SPEAKER_00Very cool, yeah. Also, okay, this is a little detour, but one thing I was meaning to ask you both. Um, I know you guys are originally and like Khalil Tatriz is beautiful, stunning. Um, and it is an area that is known for beautiful, beautiful, dense, um, elaborate Tatriz designs. So I I know you are creating these pieces for other people, but how has that history of like kind of Khali um Tatriz traditions like weaved into the work that you guys do?
SPEAKER_03So if you ask my mom, she would tell you, no, Khalili Tatris is not that intense, which is contrary to all the books that I've read, it's the other way around.
SPEAKER_02So I'm not sure.
SPEAKER_03I'm not sure. So um, you know, going back, I have memories of my aunties stitching, they would always work on pieces on the side. Um, so I think the maybe it's my mom, she doesn't like a lot of um intensity in her uh stitching, she doesn't like like um full embroidery pieces, the like the one in Bir Seba or Al-Khalil, because they use it as um it it it becomes you can you can no longer see the fabric itself because of the amount of stitching that that is created on on the thaw panels as well. Um I feel like um ours is more taking the meaning of it, deconstructing it, and maybe layering it as well. We have a few pieces that are laying around, but you cannot almost notice that this is Tatres because we've used it in such a delicate matter that it looks handmade, but it it unless you you're standing right in front of it, you would notice that this is Tatriz. Um we have a piece that we we basically stitched white on beige, so you you almost have uh to see the 3D effect of the Tatriz. So it it doesn't it takes almost like the back seat uh in a way. We we do have uh something similar to this. This is also Tatriz, but we layered it with um uh the phrase in Ihtar tokayawatani. I've chosen you uh put the word in. I don't know if you can see it.
SPEAKER_00A little bit, yeah. Can't see the writing. We'll have to you have to have to send us a picture and we'll have to post the picture of the piece.
SPEAKER_03We'll do, we'll do. So basically, we've used it in such a way that it it becomes part of our daily life, but in in such uh a smart way, I would say. Um for example, this one, it connects all the stitches from the northern areas of Palestine till the south areas, but in in a way that is it doesn't feel heavy, it doesn't, it has a deeper meaning, it has a deeper understanding of the stitches. So um uh I'm not sure if I answered your question, but maybe uh we don't use the the heaviness in Khalili Totris uh as uh as it is. So it uh it has uh layers, it has a deeper meaning of you know the different motifs and what they mean and how they connect to each other, and yeah.
SPEAKER_00Oh sorry, was was uh Theta saying something? She's saying the city itself, they don't do stitches.
SPEAKER_03We're we're picking a beat for the Khalili people apparently. I'm not answering that. Only Falaha people, yes, only Falahi people do the trees, yeah.
SPEAKER_00Fair, fair, yes, yeah.
SPEAKER_03Yeah, all the villagers are uh are like this, the falahi people, but I I feel like the city that it's already they're too busy doing the daily life, they're maybe engaged with kind of hidden so different art forms. They they usually do different art forms, but maybe uh even on a commercial level, maybe they're busy with the having their own businesses, they they don't have time to to do tatriz.
SPEAKER_01Yeah, I know Khalili is uh Khalil is really popular for the pottery as another art form.
SPEAKER_00So many crafts, like so many beautiful, like very distinctly Palestinian crafts.
SPEAKER_03Yeah, yeah, absolutely. The ceramics, they're something else, honestly.
SPEAKER_01Yeah. So then life was different in the village than Al Khalil, the city, like it's a very distinctly different experience growing up there.
SPEAKER_03This alaq is a cannot al-hayam khtalf, ben al-Madina or Ben Al-Kharyah. Sure, yeah, yeah. She's saying nowadays it's almost the same, but back in the day it used to be very different. So you would have so many tasks to do um um in the village uh rather than the city. And the commutes, she was telling me about the commutes, it's it's it takes almost their day, honesty, yeah, to go from the village to the city. It's uh it's it's uh a troublesome honesty.
SPEAKER_01Yeah, yeah, absolutely. I can imagine. Um, okay, this has been so wonderful. I can't wait to see the new project, anything else that you guys come up with. It's been, I love watching your work. And I just from Dina herself, I just I remember, you know, she spoke so highly of working with you guys and creating something so memorable and personalized. Um, we always love to end our episodes by asking uh if there are any major life lessons that either you or Taita Zahriya have learned from Talprees. Absolutely.
SPEAKER_03Um I'm gonna direct this question to her because in what we followed. So what she said is basically uh taught her patients, that's the first thing, how to choose colors. And um I didn't know this, but like taking responsibility because it's uh it's about you're designed something that goes into someone else's home. So this, yes, it's an opportunity, but it's also an honor because um someone opened their their homes for you, their their houses and their hearts as well. So this resonates as well with us. Um it's basically uh honestly, I didn't know this before. Like um, yeah, I mean it it's it's about patience, it's about you know creating beautiful pieces that have a deeper connection, a deeper meaning to people, and that means something. And we want to continue this journey into learning more and um even developing our our crafts because we need to take it to the next level, obviously. Yes, uh we can create it as it is, but then what's what's next? If you don't develop your own heritage and um take it to the to the next level, it it might it might be left behind, honestly. So um yeah, I mean uh let's do the trees. I want to pick up right now and do uh my own project now. But it's these uh issue. Oh, whenever she starts a new project, she's uh she's basically too eager to finish it, and she cannot wait until like she sees the the the full results or the whatever comes out of the project. So uh yeah, I'd like to thank you really, Lina and Amani, for this this was honestly, it's like therapy.
SPEAKER_00Oh, that's great to hear. No, thank you guys for being here and for sharing your work. Um, how can people find you guys? How can people find your work? Um, you know, on social, on your website, anywhere online.
SPEAKER_03So we're called Aswali Teta, Grandma's Crafts, and uh our only page is on Instagram, um, so they can uh follow us there. And uh we usually don't post a lot of things. We don't post regularly, but when we do, it's it's uh it's whenever we have a new project, we would uh share it with uh everyone else.
SPEAKER_00Amazing. We will have the links for that. Um I highly encourage people to check out the work. Uh it's really beautiful, and you'll get a great idea of the skill that it goes into these pieces. Um, so yes, mashallah. Um I love that teamwork, teamwork, and you know what? That's how it's always been, mother, daughter. Yeah, it's really beautiful to see.
SPEAKER_03So no, no, go with the um alu. What she's saying is basically she needs to consult with me every now and then in terms of the colors that I'm obsessed. Am I a freak or I'm not sure if I'm a control freak or not, but maybe that's my sign. We all are, we all are. Yeah, yeah.
SPEAKER_00Well, thank you both again. We appreciate your time and we will talk to you both soon.
SPEAKER_04Thank you so much.
SPEAKER_00So glad we had that conversation. Their work is so, so beautiful. Um, like I we said, we'll put the links uh for everyone to check out, but highly encourage um everyone to check out their work. It's absolutely stunning and so creative.
SPEAKER_01Yeah. I was just telling you that um just before we hit record, like I'm now I'm like really curious to find photos of Maiteta's home in Nablus, if I can get a photo of the door, because that would be such a beautiful piece to to pull together and um really helps you feel more connected to to your home if you if you can, and even if you don't have a home in Philistine right now, imagining what's possible, you know, um given the knowledge that we do have until we can go back. Um so yeah, it's it's really, really beautiful. I loved everything that she shared. Her architecture, yeah, 100%.
SPEAKER_00So cool.
SPEAKER_01And it's making me think also about like pieces in my home because my cousin's wife is an architect and it's interesting. I feel like architects they love like clean aesthetic, sharp edges, whites, beiges, because that's how my cousin's wife is too. Um, but the way that they integrate Teltrees is really beautiful. It's very like minimal but beautiful, has like, yeah. Anyways, so exciting. And to you, dear listener, thank you for listening to another episode of Telfriz Talk. We want to hear about your Teltree's journey, so please share your stories with us either at Telturiz Talk at gmail.com on the website, DM us, and we might just have you on an upcoming episode. Don't forget to subscribe to the podcast on your favorite listening platform and be sure to leave a five-star review. You can follow me at Lina Stob, Amani at Minamani, and of course, follow the pod at Telturiz Talk. We will talk to you soon.
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