Yasmin Bawa
© Margaret Flatley
Yasmin, please introduce yourself:
Hi, I’m Yasmin Bawa, a sculptor currently based in Ardèche, France. My work explores the interplay between material, form, and energy, resulting in objects that serve as both functional and purely sculptural pieces. My practice is deeply rooted in my surroundings and internal processes, often reflecting the rhythm of my environment and the moment of their creation.
#1 You studied textile design and then worked as a designer at Acne Studios in Stockholm. How did your time in the fashion industry influence your current work?
Yes, that’s right. Textile design was my entry into the creative world, and working at Acne Studios taught me how materiality, texture, and narrative can coexist within functional forms. Fashion is an industry that moves quickly, and there’s this constant dialogue between detail and the bigger picture, which I think shaped the way I approach making. The pace, however, was something I eventually wanted to step away from, allowing for more introspection and connection with the materials I work with. Now, my process is slower, more deliberate, and tactile—a meditative response to the intensity of my past experiences.
#2 How do your objects take shape, and what does the creation process look like? Also, when do you feel an object has reached its final form?
The process begins intuitively. Sometimes before I start, I take time to meditate, visualising the piece and its energy. I work firstly sculpting the core structure and then gradually start layering lime plaster to refine the form and to eventually reach the desired final finish. Each layer builds upon the previous one, embodying both time and intention.
An object feels complete when it reaches a state of harmony—when there is a balance between tension and resolution. Sometimes, recognising this moment is a challenge; other times, the piece itself signals that it is finished.
© Margaret Flatley
#3 You work mostly with Hemp Lime, can you tell us more about this material and why you love working with it?
Hemp lime is a fascinating material—not just for its sculptural qualities but also for its environmental benefits. Hemp grows rapidly, requires minimal water, and absorbs significant amounts of CO₂ during its lifecycle, making it one of the most sustainable materials available. When combined with lime, it creates a breathable, durable structure that is fireproof, mould-resistant, and naturally regulates humidity and temperature.
While hemp lime is primarily used architecturally for building houses, working with it on a smaller scale still feels like participating in a regenerative cycle—one that honours both the past and the future. The process itself is deeply tactile: refining the surfaces with lime plaster and applying the final tadelakt finish, hand-polished with a river stone, gives each piece a sensorial depth that continues to inspire me.
#4 How do the objects interact with the surroundings in which they are placed?
For me, space is alive; it’s not an empty container but a dynamic presence that influences experience. My sculptures respond to this, absorbing and reflecting their surroundings, moulding the space to fit their own needs. I see my objects as living participants in their environments—they carry a presence that is both adaptable and assertive, quietly shaping the space as much as they are shaped by it.
© Margaret Flatley
#5 Did your way of working change when you moved to the south of France, now surrounded by nature, after 10 years in busy Berlin?
Absolutely. Moving to Ardèche felt like an invitation to slow down and recalibrate. The rhythm of nature here—its cycles, its textures—has seeped into my work. My studio is just next to a river with a waterfall, and I have the constant sound of the river as the backdrop to my work. I started foraging volcanic stones, incorporating them alongside hemp lime, and letting the materials echo the rawness of my surroundings. My creative process feels more intuitive and rooted now.
#6 A few days ago your solo show Vital Spaces at Sainte Anne Gallery in Paris closed. As you build and shape your objects layer by layer, Vital Spaces resulted from exploring and stripping away your own layers of protection, an experience of turning inwards and self-discovery. Can you tell us more about the exhibition?
Vital Spaces was a deeply personal exploration of growth, vulnerability, and connection, marking a significant step in my artistic journey. The exhibition arose from a year of deep introspection in Ardèche, where I took time to reflect and uncover parts of myself I had kept hidden. This process of stripping away layers of protection mirrored the act of creating my sculptures—each piece a manifestation of that journey. The works in the show are layered, textured, and raw, reflecting both strength and fragility.
The exhibition also marks my first foray into stone carving and painting. Central to all of the work is the idea of roots, both as a natural phenomenon and a metaphor for identity. Through abstract forms, I sought to evoke resilience and the hidden emotional layers of self. In this way, my sculptures and paintings embody the dynamic interplay between grounding and expansion, inviting viewers to reflect on personal transformations and the interconnectedness of life, art, and the spaces we inhabit.
© Margaret Flatley
#7 How do you see your role of a sculptor or artist in today's society?
I think artists have the ability to create spaces for reflection, for slowing down, and for reconnecting with what’s essential—both within ourselves and in the world around us. As a sculptor, I’m interested in facilitating these moments through tactile, grounded forms that encourage presence. In a world that often feels overwhelming, creating something tangible and honest feels like a small but meaningful act.
#8 How does your environment influence your work?
Completely. This latest body of work is deeply influenced by my journey to find a sense of place and follow a deep calling to live in nature. Being surrounded by ancient mountains, forests, and volcanic rocks has given me a profound appreciation for material origins and natural rhythms. My objects often reference these elements—not in a literal way, but as a dialogue with the textures, forms, and energies I experience here. My studio is also very much a sacred space for me, filled with special objects collected on travels and artworks from dear friends.
© Margaret Flatley
#9 Three things that inspire you at the moment?
Volcanic stone—its rawness, weight, and ancient energy.
Roots and the nervous system—how they mirror each other, both in grounding and complexity.
Ritual spaces—from alters to caves, places that hold stillness and invite introspection.
#10 What do you currently read, watch, listen to?
Lately, I’ve been reading Earth Mother by Pupul Jayakar—a fascinating exploration of goddess worship in India, weaving together mythology, transformation, and creative energy. I’ve also been reading Água Viva by Clarice Lispector, which feels more like an experience than a book—fluid, poetic, and deeply introspective.
I listen to a lot of podcasts, especially on meditation, philosophy, and science. A recent favourite is Inner Cosmos, which delves into different aspects of the brain—it’s endlessly fascinating. I also love long-form interviews and conversations; there’s something really soothing about listening to people in conversation while I work. That’s probably why I’ve started exploring audiobooks too, which is new for me. Right now, I’m listening to If Women Rose Rooted by Sharon Blackie.
In the studio, I always have an ongoing playlist of favourites, but when I’m sculpting, I gravitate toward calm, ambient music. As for watching, I’m drawn to a mix of documentaries and slow cinema—anything immersive that allows me to settle into a different rhythm.
© Margaret Flatley
Links: www.yasminbawa.com
Instagram: yasmin_bawa
Photo Credits: © Margaret Flatley
Interview by Emily Paefgen