Reflections on Our Exhibition

When we opened our exhibition on February 13th, we stepped into a space that asked for vulnerability, curiosity, and conversation. For more than a month, we invited visitors to step closer, pause, and look again, at the stories woven into our rugs, at the softness that carries sharpness, at nudity that chooses to exist without apology.

This exhibition was never just about objects. It was about tension, the tension between comfort and discomfort, between intimacy and confrontation, between the private and the public. Over these weeks, we saw people linger. We overheard hushed conversations and sudden laughter. We witnessed moments of realization that these ‘Boobie Traps’ are exactly that: soft, quiet provocations that sit underfoot yet stay in the mind.

It was important to us that the space felt like an extension of a living room, somewhere to settle in and question what is so scandalous about softness, skin, and presence. We’re proud that our audience didn’t just come to see; they came to feel, to question, and to talk.

Below is the full text by Alma Trauber, curator of the exhibition, which framed our work so poignantly:

Statistically speaking, the world’s most renowned galleries and museums are filled with nudes, predominantly of women. The creators of these nudes are mostly men. While women are well-represented as subjects, particularly in nude forms, they are still significantly underrepresented as artists and creators. As a result, the female nude is consistently considered an acceptable way to represent women’s bodies. Yet outside artistically defined spaces, naked female bodies are still deemed inappropriate, offensive, or sexualized. The idea of nudity as discomfort is particularly relevant for women. Historically and presently, female physicality has almost always been associated with shame. Let’s not forget that breastfeeding in public remains a societal taboo.

‘Boobie Traps’ are therefore a kind of trap: each object asks us to look deeply, feel attentively, and question what we think we know (or see). This fresh, bold, and unwaveringly poetic artistic concept does what art has always done and must continue to do - it challenges, addresses viewers critically, and brings something new.

Why shouldn’t a rug transcend its utilitarian and decorative function? Why can’t it bring awareness and challenge gender stereotypes in our everyday lives and spaces in a somewhat innocent and non-invasive way?

It’s also important to acknowledge that the industry behind those beautiful, expensive rugs from India, Afghanistan, and Pakistan often relies on child labor, mostly involving girls. This is another layer of ‘Boobie Traps’, as the artist offers a product free from such exploitative backgrounds for your homes, both private and public spaces.

‘Boobie Traps’ plays with fetishism and sadomasochism,revealing itself as a dynamic field of experimentation within the erotic realm.

The artist moves at the intersection of art, design, craft, and activism, bringing empowering artistic objects into our lives. These pieces embody the courage and defiance of female resistance while offering a cathartic liberation, simultaneously challenging societal norms and conventions.

Photograph: @ivona.malbasic