I will never forget the howls and screams which filled our London home one fateful day in April of 1996. My maternal grandmother was murdered by a man who had painted the family home in Beirut, Lebanon. It occurred whilst my grandfather was waiting downstairs under their apartment building for the electricity to come back on in order to use the elevator. When he killed her, he killed our family too. This event shaped who I am today. My family continued to live in the same apartment, and I would come back to visit them every summer. It has left me scared of empty homes, noises, creaks, and a vivid imagination.
Gulf Photo Plus: I really have no idea where to start. What a truly extraordinary piece of work. How long have you been wanting to create this project? Why is now the right time?
GPP: Some of the photographs and videos are particularly chilling, like the footage of the trip in the elevator and the architectural drawing of Setté's apartment, which seems to have been extracted from a crime investigation. Is there also an attempt to re-trace her murderer's steps?
GPP: There are many contrasts— between cold haunting truths and warm precious memories. Could you expand on this observation?
NN: The cold haunting is what was left behind, the void when the warmth left our home. Because, she was the warmth at home, she was the pillar of our family that brought everyone together, full of celebration and precious memories. I wanted to show my audience what has been taken away, the warm memories shown are a glimpse of that.
GPP: It's revealed at the end of The Setté Project that you lived alone in the apartment for two years. How did that experience influence the work?
View full project here.