Masters pencil drawings11/6/2023 I also appreciate the way that Shirin Neshat uses the bodies of women to have conversations regarding women’s issues in Islamic countries and their connection to deeply cultural aspects of these societies. ![]() I’ve been impressed by the way Linkton connects her body’s experiences in her work, which results in a strong dialogue with the viewer about gender and sexuality. Meanwhile, Wangechi Mutu, Shirin Neshat, and Greer Lankton are some of the artists whose careers and work I admire. For me, the patterns are traumas that repeat unconsciously regardless of their aesthetic aspects and the pleasure leads to pain and feeling overwhelmed in my drawings. A sense of delicacy and colorful patterns connect my work aesthetically to Persian art from childhood I was surrounded by intricate Persian carpets and textile designs. Growing up in Tehran, I was exposed to Persian art and culture, as well as recent Iranian politics, and that double exposure increased my sensitivity to the dynamics of vulnerability and violence that I explore in my work and art-making process. Are there any particular people, places or things that serve as points of inspiration for you and your work? My new body of work seeks a new perspective on wearable art, creating lingerie across the gender spectrum for different identities–an artistic vision that can challenge the public perspective of the most intimate clothing as a personal ideology rather than just a piece of cloth.ĥ. Using these new images and materials emphasizes the marks of history and memory on the body and its accoutrements. In blurring the borders between artistic disciplines in my studio practice, I hope to interrogate the cultural and historical ideas shaping my work. ![]() Related to my own roots in Persian textile and inspired by the work of artists whom I admire–such as Louise Bourgeois, who says, "Clothing is a metaphor of the years that pass.įor me fashion is the experience of living in this dress, in these shoes"–I am taking my practice further and transferring my drawings onto actual lingerie fabric. Over the last few years, my process of making art has transitioned from drawings to more complex layers of body casts that allow the work to interact with the audience beyond the surface. Both of these images show immigrants drifting on the sea, risking their vulnerable bodies for the hope of a better future.Ĥ. Can you share a little about your current work in progress? This piece was inspired by the painting “The Raft of the Medusa” by Theodore Gericault: the figure at the top right side, holding a piece of fabric, is repeated in the figure of a child at the top left side of the image in my drawing who also holds a piece of cloth. In “Not Too Far Away,” I use a photograph of migrants arriving in Greece on a Turkish boat in 2015. Two worlds–my birthplace and my current home–live alongside each other in my work, joining intimately at a single point. Layers of shadowy images reveal stories, with the hope of leaving a mark on the audience. In my series of colored pencil drawings, “Victorious Secrets”, unexpected images incorporated in intimate apparel intend to bring humor, surprise, and a shock of recognition. Through my work, I examine the experience of finding ourselves insecure in our own bodies. ![]() The female body, and its exposure to differing social norms, is central to my work. Can you speak a little more about your work Not Too Far Away (Victorious Secrets) as this was the piece that won the Young Masters Art Prize and Young Masters Emerging Woman Art Prize in 2017? Meanwhile, I pursue beauty and realism in contemporary art by deploying formality, virtuosity, and delicacy, connecting my work aesthetically to art of the past.ģ. Post-revolution generation in Iran intertwine with conflicts at the borders of tradition and (post-)modernity. Working at the intersections of drawing, sculpture, and textile design, I locate my work in a feminist response to Edward Said’s “Orientalism”: ideas of womanhood in the post-colonial world and the My drawings on paper and casts of my body, as well as textile and sculptural installations, represent a non- Western aesthetics of pleasure and beauty. 1. Describe your experience of professional training and how does it continue to inform your process and productivity?Ĭoming from a traditional artistic practice during my BFA at Tehran University of Art in Iran to my MFA degree at the School of the Museum of Fine Arts/Tufts University with the focus on the concept, I’ve been challenged in both technical and theoretical aspects of the art-making process.
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