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Rachel K. on “GENESIS”: Transforming Discarded IQOS Devices into Art

Rim Nsouli

9-October-2026

Rachel K. on “GENESIS”: Transforming Discarded IQOS Devices into Art

At Arthaus Beirut, artist and sculptor Rachel Koleilat and Philip Morris Lebanon unveiled GENESIS, a striking sculpture created from thousands of components recovered from IQOS devices as part of PMI’s IQOS Device Circular Program. Bringing together art, design and sustainability, the artwork reimagines discarded materials and devices as the building blocks of a new creation, drawing inspiration from the structure of DNA and its connection to regeneration and renewal.



Known for her ability to challenge conventional perceptions of materials and their value, Rachel K. approaches the project as an opportunity to explore how objects can take on a new meaning beyond their original purpose. Through its scale, form and intricate composition, GENESIS makes the transformation of recovered materials tangible, inviting viewers to reconsider the possibilities of recycling through a creative lens.

This art piece opens up a conversation about the role of art in raising awareness around sustainability and encouraging a more thoughtful relationship with the objects we use and discard. We sat down with Rachel Koleilat to discuss the inspiration behind GENESIS, the creative process that brought it to life, and how art can turn overlooked materials into something unexpected and meaningful.

What was the first idea that came to mind when you were approached for this collaboration?
My first thought was about beginnings: how an object that has reached the end of its original purpose can become the starting point for something completely new. That is where “Genesis” began for me. I wanted to transform these devices that are collected for recycling into a sculpture that invites people to look closer and discover beauty where they might not expect it. “Every end holds a beginning” expresses that idea perfectly.

What did using discarded IQOS devices allow you to explore?
I often work with small objects, using repetition to create texture and movement. These devices introduced a different visual language: precise shapes, metallic surfaces and a sense of technology. I was interested in how something so structured could become fluid through composition. From a distance, you see the sculpture as a whole; up close, you discover the individual objects that form it.

How do technology, art and sustainability intersect through “Genesis”?
Technology provided the objects, and art allowed me to imagine a new purpose for them. The connection to sustainability comes through reusing what already exists. In “Genesis,” those three worlds meet in a very tangible way: an object designed for one function becomes part of an artwork, encouraging us to reconsider what we choose to keep or discard.

What does transformation mean to you personally as an artist?
Transformation is central to how I create. Everything begins in my imagination—a feeling, a thought, an image—and then I search for the materials and methods that will bring it into reality. With this project, transformation also meant working with objects that already had a history. I could preserve something of their identity while giving them a new meaning.

What part of the creative process were you especially excited to see captured on film?
The gradual moment when individual objects begin to form a coherent piece. So much of that process happens through small decisions: placing, adjusting, stepping back and looking again. I wanted the film to show the hands, the patience and the experimentation behind the sculpture. The finished work is one moment; the journey reveals how it came to exist.

What interested you most about working with a material normally considered waste?
The possibility of seeing value in something that had been dismissed. As an artist, I am drawn to objects that make me curious, regardless of their original purpose. A discarded material comes with its own shapes, textures and limitations, and those can lead me towards ideas I would never have reached with a blank canvas or a new material.

Does Lebanon have enough space for creative approaches to recycling and upcycling?
I believe there is room for much more. I would love to see more opportunities connecting artists and designers with businesses that have unused or discarded materials. Access to those materials, space to experiment and support for production could turn an interesting idea into a real project. Schools and public spaces could also make these approaches more visible and accessible.

What would you like to see more of in Lebanon at the intersection of art, innovation and sustainability?
More collaborations that give creators the freedom and resources to experiment. I would love to see artists working alongside engineers, manufacturers and students, sharing knowledge and exploring what existing materials can become. Public art is especially interesting to me because it brings those ideas into everyday life and allows people to experience them directly.

Will this experience change how you approach discarded materials in your future work?
Yes. It has made me more attentive to materials I might previously have overlooked. I already enjoy giving familiar objects unexpected roles in my sculptures, and this experience has expanded those possibilities. I want to continue exploring discarded materials when their form and character connect with an idea. Sometimes the material itself can become the beginning of the work.



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