harmony
focuses on the relationship between two images that have no immediate visual connection. After a few moments, connections are made through contradictions and similarities. The channels are different colors and sizes, but both share the existence of the human body as a symbol of resistance. On one channel projected on the wall, you see a video montage of 4000 frames of photographs taken in an hour. An old man sitting in his wheelchair is surrounded by dancing bodies in each frame. The other channel, shown on a Sony PVM television, is a black and white video of a blind man trying to get the attention of passersby around him by tapping his cane. The rhythm of the tapping occasionally syncs up with the frame rate of the other channel. One of my key artistic concerns is discovering the underlying behaviors in a given society, investigating how these mechanisms link members of society, and portraying this relationship.
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underground operation
A few years ago in Tehran, Vali-e Asr Intersection pedestrian underpass became operational. Construction of an underpass, underneath Vali-e Asr Intersection, where the most important streets in Tehran meet the city installed iron fencing, a means of saying ‘Keep off!’. This forced people underground to keep them off the streets as part of the Urban Despotism project at the pretext of traffic control. In this project
I placed a fixed-frame camera to record snapshots which included the fences, guide signs, charity boxes, flags, cultural and iconic buildings, and me, the artist, standing still like the rest of the elements.
we are well self-equipped
is a depicts two Afghan refugee children building a weapon to hunt birds. These two children alter colorful balloons and soda bottles to make an instrument that can launch rocks. However, in practice, none of the rocks reach their target.
