Once Upon a Time in Tehran
In these series I have been exploring the idea of memory and it’s relationship to time and place. Our memories are a very refined and processed version of our thoughts towards specific events, with much of the information reduced to an absolute abstraction or fragment of the recollection. We are usually unable to recall the more crucial elements that are key to the memory puzzle, forcing us to reach for logic through a maze of disconnected segments. In these series, I attempt to re-write or recollect the pieces of memories from one day in my life in Tehran that I recall through prescient glimmers, in order to recreate an image or object for others to experience. For me, the creative process of the installations are a way of retaining my strongest recollections that have stayed with me through the years, while merging them into physical objects that are relevant to Persian culture and my personal history. The process involves writing my original memory in Persian calligraphy, referred to as the “Black Practice” or the Siyah mashq method, where the page is completely covered with writing in every direction. The dense pages are then screen printed onto hand made Japanese paper and deconstructed further by cutting each page into narrow ribbon-like shreds. These ephemeral text fragments are used to construct oval yam sculptures or are crocheted into yarns of delicate fabric weaves. By infusing the sculptural elements with the original memories, I am using my process to preserve the more powerful reminisces that have permanently lived with me over the test of time.