Exclusive: TRAME’s “Desert Threads” Film Weaves Craft and Code Across Continents

In “Desert Threads: Weaving Tradition and Technology,” TRAME bridges centuries of Moroccan craft with the possibilities of generative design. Founded by Ismail Tazi and rooted in the weaving heritage of Fez, the studio invited digital artists IX Shells, Linda Dounia, and Fingacode to Morocco for a deep dive into traditional techniques. The result is a striking collection of tapestries that blend algorithmic precision with handmade texture — an ongoing conversation between past and present, code and craft.

The project comes to life in a new documentary directed by Matteo Erenbourg, which traces its journey from Moroccan ateliers to Art Blocks Weekend in Marfa, Texas. Set against the quiet drama of the desert, the film captures how TRAME staged a cultural dialogue across continents — showcasing not just “Desert Threads,” but also “A Thousand Layers of Stomach,” an interactive installation exploring cycles of consumption, and “CryptoPunks Mirrors,” a series of handcrafted Venetian pieces that play with digital identity and material form.

At its core, TRAME’s work is about reimagining preservation. Rather than freezing tradition in time, the studio sees it as something living — capable of growth, adaptation, and relevance in a digital world. By pairing artisans with technologists, they aim to create a new language for heritage that honors its roots while pushing it forward.

Watch the exclusive premiere of the documentary below, and dive into our conversation with Tazi.

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Matt Medved: What drew you to explore the intersection of weaving traditions and digital innovation in TRAME?

Ismail Tazi: I was born in Fez, Morocco, where weaving is a significant part of the city’s culture. The Jacquard loom—often considered the first computer—hints at a centuries-old synergy between technology and textiles. This idea of intertwining heritage and innovation is at the heart of TRAME.

In 2023, we invited digital artists IX Shells, Linda Dounia, and Fingacode on a research trip to Morocco, where they immersed themselves in the intricate, age-old techniques of local craftspeople. The result is “Desert Threads: Weaving Tradition and Technology,” a collection of tapestries that merge the precision of generative algorithms with the rich texture of Moroccan craftsmanship. Each piece is a dialogue—an exchange between past and present, code and craft. Through this collection, we hope to show that digital innovation can be a tool not to replace, but to reimagine tradition.

How did Art Blocks Marfa’s unique landscape and artistic culture shape the documentary’s narrative?

The Texan desert felt like an echo of the Moroccan landscape—vast, meditative, full of quiet intensity. By setting the exhibition within this environment, we were able to create a dialogue between two deserts, two cultures, and two worlds of art. We showcased three installations: the “Desert Threads” weaving project, handcrafted CryptoPunks Venetian mirrors, and A.A. Murakami’s interactive installation “A Thousand Layers of Stomach.”

Art Blocks Marfa Weekend is a rare and intimate gathering, a place where generative art enthusiasts and creators come together in a space that feels like a portal to possibility. Recreating a Berber camp in Marfa allowed us to bring a piece of Moroccan hospitality to the Texan desert. It wasn’t just about the installations; it was about creating a space where people could sit around a fire, share stories, and enjoy the sunset and rising moon, a reminder that art, like culture, is a shared experience.

⁠In “Desert Threads,” how did you balance traditional craftsmanship with modern materials?

These works are more than tapestries; they’re dialogues that weave together threads of innovation and tradition. Each piece is a delicate negotiation between digital code and the artistry of textiles. We don’t simply translate digital designs into craft. Instead, we allow the craft to inform the algorithms, creating a true collaboration between the artists and artisans.

“Desert Threads” is a vision of how technology and heritage can inspire one another, shaping works that honor the past while imagining the future. It’s a new way of living with digital art—a tangible expression of generative design that can scale while remaining intimate, personal, and one-of-a-kind.

“A“ Thousand Layers of Stomach” explores cycles of consumption — what inspired that focus?

This installation celebrates the overlap of nature, technology, and the unseen patterns of everyday life. A.A. Murakami drew inspiration from the Asari clam, a humble staple of Asian cuisine, whose shells form intricate, unique layers. The generative code created for the project mimics these evolving, abstract patterns, drawing a parallel to the idea of individualized, generative design. In Marfa, a custom knitting machine translated the code into textiles, allowing visitors to interact with knobs to create patterns in real-time—a process that echoes the organic, changing patterns of a clam’s shell. As the project travels to various events,, the textile will continue to expand, growing into an extensive, evolving work.

In terms of consumption, the project reflects a broader exploration of how technology allows us to create personalized art and decor at scale. Each output is distinct yet part of a larger ecosystem, much like the clams themselves.

With Cryptopunks Mirrors, what does transforming digital avatars into physical objects reveal about identity and materiality?

The handcrafted Venetian CryptoPunks mirrors were created to explore how digital art can take on a tangible, material form. Placing these mirrors in the Texan desert, a space known for its connection to minimalist art through Donald Judd, allowed us to present them as “anti-museum” sculptures.

Each Cryptopunk reflects both a digital identity and its owner’s identity. As mirrors, they invite viewers to consider who or what is being reflected—themselves or the digital avatar (or are both one in the same?). The project explores the merging of crafted and coded, physical and digital, and the idea of identity in a hybrid world.

⁠How do you see TRAME’s work influencing conversations around cultural preservation and evolution?

At TRAME, we see ourselves as cultural stewards, not just preserving techniques but reimagining them for a new era. By connecting digital creators with traditional artisans, we’re not only protecting cultural heritage but allowing it to evolve, to be seen as relevant and vital in a world defined by technology.

Generative design lets us create vast collections where no two pieces are the same, each tied to an ownership ID on the blockchain. It’s a way to celebrate individuality while embracing scalability. By pushing the boundaries of what craft can mean, we’re exploring how technology can amplify rather than diminish the depth and history of traditional techniques. Ultimately, it’s about crafting a legacy that respects the past while daring to shape the future.