You may have already noticed the calligraphy on our shop windows. Behind it is Fatima Bazooni, a Danish-Iraqi architecture student from Copenhagen with a deep love of art, shapes and pomegranates.

We spoke to her about finding a connection to her roots through calligraphy, and why you don’t always need to understand the words to be moved by them.

Tell us a little about yourself and your work.

My name is Fatima Bazooni, and I’m a young Danish-Iraqi woman living in Copenhagen, where I study architecture. It’s something I’ve dreamed of doing since ninth grade. Back then, I was inspired by Zaha Hadid, whose work was very different from the architecture I was familiar with. I’ve always been artistic and loved being creative, so architecture felt like a natural path for me.

I’m also involved in volunteering and setting up organisations that can help other students. Among other things, I support people in Denmark from ethnic minority backgrounds who want to study architecture but may not know much about the degree or how to get into the programme.

I also like to try out different things that might give me an idea of what I’d like to work with in the future.

Why is calligraphy important to you?

Arabic calligraphy connects me to my culture. When you grow up in Denmark, Danish culture naturally becomes a big part of who you are, and I’m happy about that. At the same time, you can sometimes miss your roots and the culture you come from.

Calligraphy is one of the things that gives me a connection to that part of myself.

What can calligraphy offer as an art form?

For me, calligraphy isn’t just something you read; it’s also something you experience. The shapes and movement tell a story that goes beyond language.

That’s one of the things I find so beautiful about art: it can make us feel something without us fully understanding what we’re looking at. Sometimes, you can feel the meaning before you understand the words.

At Østerland, we’ve always felt that Islamic calligraphy has something beautiful and almost spiritual about it. What do you think it can awaken in us, even when we can’t read the words?

I think it can evoke a sense of calm, presence and connection to something greater. There’s something special about not needing to understand what’s written to feel something.

That’s also what I hope Islamic calligraphy can offer those who don’t understand the language: the experience of being moved, even if they can’t read the words.

Which three products from Østerland are your favourites, and why?

I absolutely love the Suzani textile with the pomegranate motif. Then there’s the pomegranate necklace I received as a gift, and the pomegranate ornament, which I now use as a keyring.

So, all three have something to do with pomegranates! I’m not entirely sure what it is about me and pomegranates. I just love them. To me, they have something very Middle Eastern about them.

Of course, a pomegranate tastes delicious, but it can also tell us a great deal.