Abdollah Nafisi’s form-making practice centres around the art of improvisation, an archival and performative process he observed and learned during his years-long travel with nomads and indigenous tribes of Iran. Inspired by their intimate and ever-responsive ways with the lands, Nafisi aims to translate and explore the essence of ‘connectivity’ by drawing parallels between the ecologies of man and of nature.  Viewing wood as a storyteller of time, he repairs, alters, and destroys organic materials to probe into the tensions of heritage versus tempoorality. With a decade-long training in Japanese joinery, his use of traditional, exact, and highly-spiritual woodwork technique urges a reflection on modernity's conflicting ideologies — human ingenuity and technological progress juxtaposed with the looming threat of self-destruction, such the essential return to nature. In his body of work, nature is portrayed two-sided: functional, mathematical and concrete, yet fluid, spontaneous and regenerative.