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A Shared Ground

Jabari Wimbley in his studio holding a black PEDRO bag — Jabari Wimbley

Tahni Bouhadana in a long black coat holding a black PEDRO bag — Tahni Bouhadana

A Shared Ground

An experiment to find yourself in what you do not see.

Sculptor Tahni Bouhadana and multidisciplinary artist Jabari Wimbley work across different disciplines, finding inspiration in the objects, textures and details around them. Though their practices take different paths, both begin with close observation, looking beyond the familiar to find new possibilities.

For Fall 2026, PEDRO brings these perspectives together, exploring how creative expression can reveal something personal in the everyday. Here, Tahni and Jabari share the influences behind their practices and how they transform what they encounter into something of their own.

Who are you and how would you describe your practice?

I’m Tahni Bouhadana, a sculptor working with ceramics, resin and spatial form. My work is about giving physical weight to memory and geometry, taking visual stillness and carving it into tangible objects.

Tahni Bouhadana seated at a worktable in her ceramics studio

Sketchbook with vessel drawings beside ceramic bowls

I’m Jabari Wimbley, a photographer and textile artist based in Los Angeles. I focus on portraiture using latch-hooking, raw fabrics and domestic objects to explore human character and everyday intimacy.

Jabari Wimbley seated with a dark brown PEDRO bag on his lap

Close-up of black and white PEDRO sneakers on a wooden floor

What inspires your work?

I’m inspired by domestic intimacy, the way people live with their things and the unspoken character inside everyday objects. It’s the lived-in details that pull me in. When I come across a texture or object that feels honest and unscripted, it can become the starting point for a new textile piece or portrait.

Jabari Wimbley crouched on a wooden floor wearing black and white PEDRO sneakers

Jabari Wimbley standing beside his textile work in a bright studio

I'm shaped by quiet memory, light and how raw earth feels under your hands. I pay close attention to the way shapes settle and light lands. When a feeling or sound stays with me, I know it's worth exploring, and I translate that moment into something physical and lasting.

Tahni Bouhadana leaning against a white wall holding a black PEDRO bag

Hands shaping a clay bowl on a pottery wheel

How do you take an idea from another medium and translate it into your own?

I use photography as a blueprint for form. When I look at a flat image, I'm reading the line, the shadow and the negative space. In the studio, I take those two-dimensional cues and give them three-dimensional body and surface through my hands.

Tahni Bouhadana working at a pottery wheel in her studio

I work in reverse, starting with raw physical materials and arranging objects by hand. Once that tactile scene exists, I photograph it. The camera translates all that physical texture back into a flat visual frame.

Jabari Wimbley hanging a large textile piece on a wall

Tahni Bouhadana in a long black coat standing by a large window

Jabari Wimbley holding a black PEDRO bag in front of him

What is the biggest misconception about making art today?

That art has to be clean and perfect to be good. In a world full of polished digital images, it's easy to overlook the character that comes from raw textures and imperfections. Fraying threads, rough edges and domestic clutter can make a portrait feel more human.

Jabari Wimbley standing in a doorway holding a brown PEDRO bag

That making things should be fast. Sculpture forces you to work at the pace of the material. Clay needs time to dry, it resists, it cracks. You spend hours sanding, correcting and sitting with mistakes. That physical friction is part of the work, and often where the work takes shape.