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.