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Busan Biennale
The Busan Biennale is a biannual international contemporary art show that integrated three different art events held in the city in 1998: the Busan Youth Biennale, the first biennale of Korea that was voluntarily organized by local artists in 1981; the Sea Art Festival, an environmental art festival launched in 1987 with the sea serving as a backdrop; and the Busan International Outdoor Sculpture Symposium that was first held in 1991. The biennale was previously called the Pusan International Contemporary Art Festival (PICAF) before it launched.
The biennale has its own unique attribute in that it was formed not out of any political logic or need but rather the pure force of local Busan artists’ will and their voluntary participation. Even to this day their interest in Busan's culture and its experimental nature has been the key foundation for shaping the biennale’s identity.
This biennale is the only one like it in the world that was established through an integration of three types of art events such as a Contemporary Art Exhibition, Sculpture Symposium, and Sea Art Festival. The Sculpture Symposium in particular was deemed to be a successful public art event, the results of which were installed throughout the city and dedicated to revitalizing cultural communication with citizens. The networks formed through the event have assumed a crucial role in introducing and expanding domestic art overseas and leading the development of local culture for globalized cultural communication. Founded 38 years ago, the biennale aims to popularize contemporary art and achieve art in everyday life by providing a platform for interchanging experimental contemporary art.
2004 Freitag
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관리자 2005-10-12 16:31
작가Parastou Forouhar
Twelve years ago when I arrived in Germany I was Parastou Forouhar.
But over the years, in collaborating with western colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiwho were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal wit my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents ar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal wit my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiwho were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.
But over the years, in collaborating with western colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is colleagues and delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiwho were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus ofnd delineating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal wit my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents ar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal wit my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiwho were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.ating my own artistic territory I have become 'Iranian'.
In my work I try to take visual elements from the east and oriental cliches familiar to the west and connect these in a new context; elements are deconstructed, their meaning expanded outside the familiar in order to inhibit easy unquestioning comprehension.
In 1998 the story of my life took a new turn when both my parents who were active political dissidents were victims of ritual murder in their home in Tehran.
My efforts in pursuing the case of my parents' political executions in Iran had an effect on my personal and artistic sensibilities; political correctness and democratic co-existence lost its tangible meaning in my daily life.
As a result, in my new work, I have tried to distill this new conflict of displacement and transfer of meaning ,turning it into a source for creativity.
I have tried to deal with parallel questions of identity and cognition in different cultural settings.
My personal disconnect between the self and others has now been compoundded by the socio-political situation of our world today. In my recent exhibitions I have tried to expand these artistic statements from the personal to the universal.
Today strangers are identified by markings which are paradoxically familiar. But automatic recognition of the unfamiliar produces a gap between reality and assumption. The examination of this gap and the mechanism by which it occurs is the focus of my work.