Growing up in Tehran, Soby initially pursued Civil Engineering — studying structure, load, and the logic of built space. But what held her attention was never the numbers: it was the way a form catches light. The decision to redirect toward visual design was not a detour — it was a sharper aim at the same target.
Moving to the Netherlands to study Creative Business opened both a professional framework and a physical studio space. Graphic design expanded into 3D design, then into animation, then into something that demanded to be held: hand-crafted sculptural objects where digital precision meets ancient technique.
Ayeneh-Kari — the ancient Persian art of mirror-mosaic — is applied here not to mosque ceilings but to 3D-printed modular bodies. Each tile is hand-cut, scored, and mounted so that every face of the geometric form becomes a tiny mirror: reflecting the room, the light, the viewer. The result is a figure that is never the same twice.
Each sculpture begins with a fixed geometric primitive — icosahedron, tetrahedron, pyramid — 3D-printed from a modular system. From there, the hand takes over: the mirror tiling breaks the rigid module into something alive. Fragile yet precise. Abstract shapes that feel both ancient and contemporary. Structures that reflect their surroundings.
These figures are reflections of ourselves and our surroundings — fragile yet precise geometric structures that hold a triangular fragment of reality on each face, shifting with every point of view.
Commissions, gallery enquiries, press, workshops, and working opportunities with companies, studios, and fellow artists. If the brief is honest and the geometry is interesting, you'll hear back within a week.