Remember, Reshape, Reclaim, 2022, clay, glaze, and acrylic on canvas, 12x12 inches
Blue and White Fragility, 2023, clay, glaze, 12x9x5 inches
Delicate Dream. 2024, clay, glaze.
Craving You, 2023, clay, glaze, 12x10x3.5 inches
Processing Times, 2023, clay, glaze, 12x8x8 inches
Processing Times, 2023, clay, glaze, 12x8x8 inches
Endless Becoming series, 2021, Ceramic, wood, acrylic paint, chain, cement, and 3D printed PLA
I Give Birth, This Time to Myself, from Endless Becoming series, 2021, Ceramic, wood, acrylic paint, fiber, and print.
Rahimi's abstract wall sculptures employ broad strokes of paint affixed with ceramic shards of her own design. Choosing patterns to represent societal rules and customs, Rahimi draws and paints on unfired clay tiles, then breaks them apart to represent a state of pot-oppression-ruins become a catalyst for new perspectives and growth. She reassebles the broken pieces and then fires, glazes, and attaches the reordered tiles to her painted surface, imagining liberation from cultural pressure, with a mending and transformation taking place I'm the process.
"Endless Becoming is using Islamic geometric patterns and objects of personal significance to examine cultural shifts both subtle and revolutionary. Her recent series of wall-mounted ceramic sculptures, made from fractured Islamic tiles, explores the idea of ruin as a catalyst for new perspectives."
Bampfa Instagram Archive
Reorienting in Raw is a series of unfired ceramic sculptures that appear as a reassemblage of the shards and fractures and therefore they look unstable and fragile. Breakage makes the most important part of this body of work and the sculptures are tearing and breaking apart in a process that is out of the artists' control, and as a result of the natural vulnerability of clay. I have also peeled back from the saturated bright colors in the original designs of these patterns and left them with the muted colors of the unfired clay which highlights the abstraction from the traditional and ritualistic methods of creating Persian tiles. By not finishing them in conventional ways of dealing with clay through glazing and firing, I am unleashing the possibility for change within each of these sculptures.
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