Within my practice, I call attention to cultural and social issues specifically in Middle Eastern countries (especially in Iran). It references concepts of duality and cultural assimilation and internal identity conflicts. I investigate my identity in relation to my position right now in America by exploring what I have left behind of my Iranian cultural background and what I have adopted and how does this hybridity continue to shift. My practice is taking ideas that are rooted in Iran and are developed based on my education in America. Oppression is the theme that connects the different parts of my practice together. Whether it is a political oppression that comes from people from position of power, cultural oppression that may come from following traditions and consensus or internal oppression that comes from within. Through the juxtaposition of opposites such as beauty and brutality, I want to engage conflicting emotions and binary divisions of desire and revulsion, fear and fascination that are often argued for compatibility. My paintings are concerned with confrontational themes such as violence and oppression in reference to the human figure and most importantly women. Because women have been enormously affected by ignorance and inequality.
References from my Iranian cultural background mixed with western influences and art history shape an important part of my practice. In Iranian art history specifically after Islam, abstract Geometric patterns were used to decorate and ornament in Architecture, books and valuable objects. I take these Islamic geometric patterns and arabesque margins and break their designs to represent liberation from cultural pressure and geopolitical borders and more importantly to create the sense of oppression. By presenting the Islamic and abstract patterns out of their historical function and purpose (that was beauty and to show the notion of divine,) I want to bring attention to what may change and shift in cultural traditions and what are the challenges one face when going through modernization and what gets lost in this transition? Like Talin Grigor is drawing our attention to this culture conflict and transition in Iranian Architecture in the twentieth century. Revolution and tradition are two sides of the same coin in Grigor’s Building Iran b ook. She investigates how and why Iran’s cultural heritage was reinvented and used as a corridor to a progressive and at times utopian modernity; as an ideology for political reforms; and as a platform for claims to a leadership role in international politics. Grigor believes :“Architecture was not only a symbol of progress and modernity, but also a means to those ends. She follows these changing political, aesthetic ends and maintains that “when translated into architecture, modernization was characterized by the tension between destruction [of a site’s traditional character] and construction”.