Religious Vanity II

This 3D scanned and 3D printed installation contrasts the concept of man and machine-made imperfect constructions, with God’s perfect creations. Portraying in size, color, and reflection, the replacement of one’s love and devotion to Allah, by one’s love centered on the self, this piece showcases the derived relationship between a Muslim’s vanity and the divine.

HER هِيَ


As an interdisciplinary designer, Othman Khunji aims to follow his passion for discussing the different social behaviors within the Arab region in general and the Khaleej area in specific. In his recent collection, he reveals three multimedia installations that discusses the different scenarios in which females who try to be involved in the society can be held back just because of their gender or because of how the society would “talk” or react to their ambition and goals.

In these installations Othman aims to start a conversation about how women should be given a chance to express their strength, capabilities, skills and be as involved within the community. Othman Khunji continues to follow his multi-disciplinary approach when it comes to making a conversation about certain social issues. He uses modern day technology such as 3D scanning / 3D printing and mixes it with other physical mediums such as brass, wood and marble to create aesthetically sophisticated installations that discusses such sensitive social issues.
كمصمم متعدد التخصصات يهدف عثمان خنجي لمتابعة شغفه في مناقشة السلوكيات الاجتماعية المختلفة في المنطقة العربية بشكل عام ومنطقة الخليج بشكل خاص. في مجموعته الأخيرة، اعماله الثلاثة تناقش السيناريوهات المختلفة لدى نساء العرب الاتي يحاولون أن يتركن بصمتهم في المجتمع حيث قد يمنعن من ذلك بسبب جنسهم أو بسبب المجتمع الذي يمكن ان ”يتحدث” او “يتكلم” عن طموحهم واهدافهم و شغفهم. في هذه المنشآت يهدف عثمان لبدء محادثة حول اعطاء النساء فرصة اكبر للتعبير عن قواتهن وقدراتهن ومهاراتهن و كيف ان المراة قد يكون لها دور كبير و مهم تساهم فيها داخل المجتمع. عثمان يؤمن بان المرأة تلعب دور هام في المجتمع حيث انها الاساس الذي يبنى عليه الباقي.

يواصل عثمان خنجي لمتابعة شغفه في استخدام مختلف المواد لدى مشاريعه خاصة عندما يتعلق الأمر باتخاذ محادثة حول قضايا اجتماعية معينة. عثمان يقوم باستخدام التكنولوجيا الحديثة مثل تكنلوجيامسح و الطباعة الثلاثية الابعاد ويمزج ذلك مع وسائل مادية أخرى مثل النحاس والخشب والرخام في إنشاءاعماله بشكل جمالي معين والتي تناقش مثل هذه القضايا الاجتماعية الحساسة.


A critical piece, that expresses the sole restriction to a woman’s fate, is our own words. We underestimate the value and power our own words can have, which can easily be misinterpreted and lead to false accusations that result in ruining a woman’s reputation and well-being.


A critical piece which expresses how for centuries religion has played a vital role in depicting a woman’s place in society. In a world where man is seen as god, a woman is to simply fit into an imaginary mold and blindly always come in second.



Inspired by medieval art, my interpretation of a torture mask, one of the tools used for behavior correction in mental asylums in the older times, in order to put women in their places. Back then, names and identities of women who were put away, were unspoken off. The four digits engraved on the mask indicate the verse and Sura numbers from Surat Al Nahl, from the holy Quran:  وإذا بشر أحدهم بالأنثى ظل وجهه مسودا و هو كظيم translation: ‘when a father is informed in being granted a daughter, his face turns dark and innerly conceals the grave shame that has come upon him’ Currently displayed in Bahrain’s 43rd Annual Art Exhibition at the National Theatre. Medium: Steel, Acid, Metal and Marble.


Phase 1:

Al Riwaq Art Space presents its latest industrial, solar-powered installation by Othman Khunji. Inspired by the Liter of Light movement, the invention of Brazilian mechanic Alfred Moser and also by Filipino actor Illac Diaz. Using recycled and sustainable materials, Othman has created a peep-through, miniature lighting installation, which addresses the insensitive and careless nature of today’s unnecessary consumption. In hope of shedding light on the countless lives that have been lost in endless fires in slums in the Philippines, Bangladesh, Africa and the rest of the world, leading us all to question ourselves ‘What About Tomorrow?’

Phase 2:

Othman Khunji, with the support of Al Riwaq Gallery, aims to follow within the footsteps of the ‘Liter of Light’ movement, creating awareness, starting by covering the industrial areas and villages, beginning with Bahrain and hopefully moving along the Gulf region.

For such selfless initiative to take place, we hope to be supported and funded in order to be able to form a dedicated team of volunteers who shall be sourcing and collecting empty plastic bottles, to have them transformed into what is now know as the ‘cheapest light bulb on earth’. With simply combining water and bleach we aim to bring light to many lives of laborers around the GCC region.

Designer: Othman Khunji

Curator:    Hadeel Eltayeb


UNEARTHING, Enriching Bahrain’s Pottery Culture

Bringing earthenware back to our contemporary everyday lives, by re-envisioning the identity of Bahraini pottery.

DESIGN YOUR PRODUCT: Use your imagination and get creative.

OUR OBJECTIVE: is to bring to life a system that will utilize an interactive method with guidelines in order to allow the growth in imagination instead of the craftsmen producing hundreds of the same product. The system is not a commercial ‘make your own pot’ but a tool to give the opportunity to share what they think is beautiful and drawing upon the bespoke and imperfect element of the craft.

We enable the craft to evolve into a series of contemporary fluid shapes for example: a lamp, kettle or other products that can be used and reintroduced into our daily lives. Despite its daily usage as a product, the craftsmanship of pottery adheres itself with all levels of the human senses. Various senses are utilized and heightened from the raw material to the manufacturing of the craft. This interactive collection and coherent system will trigger several of the human body senses, such as sight, sound, and touch.

We aim to successfully triangulate the craft from the local craftsmen (Delmon Factory) to Dubai and then back to the Kingdom of Bahrain. Subsequently addressing the ongoing concern of creating awareness to this valuable and powerful craft, which will remain substantial and indispensable in the fabric of the Bahraini Heritage.

Furthermore, we are creating an accessible interface, which integrates a coherent system that presents a structure, to make a consistent collection arbitrarily or by intentional design. Taking an undermined craft, renovating it with new interactive concepts and attractive forms of presentation. The craftsman constructs by hand and measures with their eyes, the user mimics this act on the screen resulting in a personified, electronic authentication of the user’s experience with the craft. In addition, we will be showcasing a cutting edge intellectual montage video installation by demonstrating the narrative of the craft’s history through the language of sequential images.