The heel makes a reference to a part of the body while simultaneously being the raised part of the shoe. Does the heel take inspiration from our intrinsic being, from which it takes its name? On that note, it is interesting to see at what point humans define themselves through objects.

Spanning centuries, the heel has integrated into different forms and functions, of which it is necessary to trace it back to its origins in order to further comprehend the genetics from which it may have been generated. This series' purpose is to return to the basis of these precepts and thus arrive at a greater awareness of our preconceptions.

The first heeled shoes were created to meet a need. They were conceived to facilitate work, devoid of any gender association. They then went on to be used by the horseback riders, helping to hold their feet in the stirrups. The association with wealth and nobility came later on, when certain kings enforced heel wear at their court, regardless of gender. As the heel became feminized and disappeared from common masculine wardrobes, it became another excuse for female objectification.

Through industrialization, heels have become readily available for consumption in various shapes, colors, materials, and forms. Although some creators are looking to extend this concept, heels are commonly regarded as a women's shoe, more aesthetically than functionally, regardless of their unisex history.

Through the "HEEL" sculptures, Rad Hourani brings the viewer towards a vision of the heel as a free-standing architectural structure. Its mutation towards sculptural form releases the heel from its functionality and from any preconceived associations with gender or nation. The heels are presented as prisms, reminiscent of the metaphorical boundaries created by our societal and cultural baggage. They are shell-free; the viewer is facing the illusion of a box, an allegory for our innate need for categorization.

The different facets of the sculptures reflect our way of conceiving the elements surrounding us and our need to limit ourselves within one defined perception. By creating cubic sculptures, Rad Hourani wishes to move beyond limits. The heel shows a neutral shape that defies time. Through this undressing, it is possible to contemplate and deprogram ourselves. What builds the walls of our mental boxes? How can we abolish the barriers and liberate our conscience?

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