A few words on "Transformism" by Harry Nuriev

WORDS Timothée Chaillou
IMAGES from 'Lèche-vitrines' at Galerie Sultana and 'Souvenirs of the Louvre' at the Louvre Museum

For his first gallery exhibition, Harry Nuriev (born in Stavropol, Russia, 1984) presents several display cases containing various consumer products that he or some of his close ones have used. In this conversation, he talks to us about his concept of "Transformism", his artistic collaborations, and a special project at the Louvre.

Can you tell us more about Harry Nuriev as an architect and interior designer?

I am an artist, designer, and architect, as well as the founder of Crosby Studios, a creative studio specializing in innovative design and interiors.

What is the difference between the studio and Harry Nuriev as a brand?

I created Crosby Studios to share my vision with the world. The studio focuses on interior design projects and furniture, while "Harry Nuriev" represents my work as an artist.

Why did you choose Paris as your home?

I chose Paris as my home because I’m inspired by its energy—art is everywhere, and creativity feels deeply woven into the city’s culture.

You like to use the term "Transformism" to explain your creative process. How does it differ from appropriation or upcycling?

"Transformism" is about creating something entirely new, unexpected, and boundary-pushing from existing objects, whereas appropriation focuses more on recontextualizing an object rather than fundamentally altering it.

What was your main inspiration for your current show, 'Lèche-vitrines'?

'Lèche-vitrines' is an exhibition that reimagines traditional shop window displays,
incorporating used objects to reflect on consumer society.

It highlights how industrial overproduction renders objects obsolete while also breathing new life into them. My main inspiration was to question our patterns of consumption and explore a transformed relationship with objects.

It’s fascinating to consider how many people and how much time it took to create each object in the installation.

Every item truly has its own story and history.

'Lèche-vitrines' marks a step in the long history of vitrines in art, from Joseph Beuys to Sylvie Fleury and Josephine Meckseper. In the "livre d’or" of your show, someone wrote: "On se croirait dans 'The Substance'.

Does this exhibition mark a new direction in your work?

I see this exhibition as a continuation of my exploration of "Transformism". It’s part of an ongoing evolution—everything is connected. For example, I recently extended the project by creating a vitrine for the Musée du Louvre after they commissioned me to design a collection of objects called 'Souvenirs of the Louvre'.

These objects are inspired by items within the museum.

We combined this collection with a vitrine displaying objects that inspired me, covered in a silver finish. The conversation around "Transformism" continues throughout all of my work.