Stage 1
I started my practice by a research on drawing skill and try to find a link between drawing and reality. In this matter thread could play a proper role of one dimensional line. So the next discussion was about choosing an object, which I choose a chair as a representative of the figure which mostly uses in figure drawing.
In electing to do this I had been inspired by one of the work of a Japanese artist Tadashi Kawamata . he used sculpture of chair installation in Dubai-Abu Dabi which involves with the interaction by the viewers.
So I made several samples by foam board and then changed it with a more stable and durable construction. And in this piece my aim was to depict an illusion of a none-ending discussion scene . And also I prepared the pieces for a group exhibition in an exhibition space of Chelsea college of Art with a restriction of the size for this show . which I learned by this limitation to be really accurate and precise. Because one simple millimeter mistake might destroy all the construction.
Stage 2
The third stage was when I decided to make the whole room furnished with this methodology which depicts a space that I face to every day into an illusion image . By this way I would like to change the reality into fiction. Indeed I had been inspired by a philosophy book which gave me a new ideology about my beliefs and which had a contrast with what I had believed before and this book is called …. . It gave me an idea to fabricate a room that is suspended between reality and fiction.
So I made this room in a small black wooden maquette in order to fabricate it in a real space with the life size objects.
stag 4
My next work was in the crypt gallery where we were arranged to exhibit for October 2016 , in this stage we were supposed to make a piece in response to the Crypt space . To me the historical part of Crypt gallery was interesting . When hundred years ago it used to be a place for keeping the dead bodies under the churches and not much information exist about the people who's final home is the Crypt Gallery.
My challenge in this show was to address the moment of suspending between life and death . In which it can be sustainability a memory of the past life.
Thread and fabric are the methods of these series of my works, But the idea of using them in this work is based on some of the elements of death and life stories left from the past time such as sky, earth and memory . For example, the most common beliefs between the ancestors was that our spirits after death fly to sky . or the memories we left behind define our destiny either in the sky or down under the soil.
stage 5
The old architecture in London , inspired me to investigate and study about the average life of the cities.
In this research I found an interesting point of view which mentioned in different sources is cities at all stages of development can benefit greatly from sharing ideas with other cities, as the developled cities embedded the solution of many issues in the developing countries. The Network supports the achievement of Sustainable Development Goals (SDGs), in particular this chain educate and promote lifelong learning opportunities for all cities and human settlements inclusive, safe, resilient and sustainable. In which This point of view is comparable to the value of the history , that always we can learn a lot from.
In this research , I could an old city like Shahre-Sukhte ( means burned city ) which it goes back to a 5,200-year-old which is burned 3 times during its life long.
http://www.megalithic.co.uk/article.php?sid=15862
Meanwhile I’ve decided to make an installation of a real city which is kept out of inhabitant and preserved as an historical heritage from last 100 years ago. Which is called Masoule. and change it to an imagination of rebuilding it as an ideal city
But Again because of the technical complexity I couldn’t successfully make it. But I could depict a chess board with this pieces which can show the movements of the political games which effect on the long-life of cities which it repeats over the history.
Stage 6
Working with artist Antony Dixon, we have come to collaborate through the notion of improvisation. This was very much a spontaneous and improvised encounter, both drawing from our individual experience as artists. We started playing with materials in the studio. I made some ply structures that I fitted to the wall at various points, while Forouzan connected each structure with series of threads. It activated the space in a most interesting way, with elements that reminded us of Vladimir Tatlin’s Corner counter Reliefs and some of Naum Gabo sculptures. With a group exhibition coming up the following week we decided to use whatever space was available to us to make a similar sculptural piece. Not knowing what space we would be using kept us improvising. It was a rewarding experience that has informed our respective practices significantly.
Stage 7
improvisation
We have come to collaborate through the notion of improvisation. Improvising is a hugely important process for us. It allows us to use all our understanding to make subjective decisions, while continually exploring and keeping everything open to change. Improvisation is an advanced dialogue that presents unimagined solutions, allowing renewed insight. When we trace the word improvise to its Latin origin prōvideō, its translation is to see in advance, discern, descry, suggesting a visionary cognisance associated with the practice of improvising.
"Improvisation is a manner of speaking that requires listening, a collective conversation that turns great risks into splendid rewards. By definition, it invokes collective interchange that is potentially transformative. Improvisation turns opposites into dialectical syntheses. It balances competing claims and interests. Improvisors need to counterpoise imagination with discipline, ego with empathy, and self-assertion with self-effacement. Improvisation references enduring continuity from the past while calling new collectives into being in the present."
Fischlin et al., (2013)
Synonymous with jazz, it seems appropriate to explore improvisation by looking at the dialectical intercourse of the jazz musicians. Having observed many live performances, it is clear that the most successful and exciting interchanges happen between musicians who have worked together for some time. Apparent is the understanding and complete trust they have for one another.
Our interest is to develop this level of exchange with our joint practice. Our starting point is one of difference, in gender, age and cultural background, yet we know that we have a connection that transcends these differences. Central to our research is exploring the potential of improvisation within our joint practice. It is a way of escaping from habit and developing trust in each other’s decision making, knowing that our difference brings vital luminosity and depth
stage 8
Having previously produced work in boxes, making scaled down spaces in which I have control of how the viewer will see my work, I was interested in working in more of a human scale. With this piece I have worked with the vestibule space at the entrance of the lecture theatre. I was interested to see how this exploration of space would work when the viewer is able to enter the whole space and view the work from multiple points.
