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 of our intrinsic being, by which it takes its name from? On that note, it is interesting to see at what point humans define themselves through the object.

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 of which it may have generated from. This serie purpose is to return to the basis of these precepts and thus arrive to 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, aiding to hold their feet in the stirrups. The association with wealth and nobility came later on, when certain kings enforced heel wear to their court, regardless of gender. As the heel became feminized and disappeared from common masculine wardrobe, it became another excuse for female objectification.

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

Through the “HEEL” sculptures, Rad Hourani brings the viewer towards a vision of the heel that is as a free-standing architectural structure. Its mutation towards sculptural form, releases the heel from its functionality, and from any preconceived associations to gender or nation. The heels are presented in 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 past 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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