“she [medial woman] experiences a destiny not her own as though it were her own and loses herself in ideas which do not belong to her. Instead of being a mediatrix, she is only a means and becomes the first victim of her own nature.” –Toni Wolff
The ‘Iranian woman’ has been a subject of panegyrical interpretation of the modern Iranian society since the dawn of the 1979 revolution, forming the Islamic Republic. These panegyrical interpretations in the Iranian art have cultivated a culture of contemporary tropes and subjective contents, which underline the quintessential of this paradigm. This has nonetheless created a popular market of curious foreign audience while debasing the authentic feminine authority in Iranian art realm and depriving the cumulative consciousness of the measures to adequately examine the collective nature of Iranian art.
I share the same generational lineage with these ‘medial women’; this series is an attempt to mirror and scrutinize the post-revolution Iranian women through a heritage of visual language that is invasively associated with her. These photographs individually depict the ‘all female’ territory paired with objects that acknowledge the sentiment of what is presumed to be an ‘Iranian woman’- artefacts representing the socio-political, cultural and historical ideology of the contemporary Iranian nation. The overwhelmingly molded stereotypes in these images express a language that conform to international characterizations of what feminine Iranian art by a feminist Iranian artist ought to symbolize.
In this series, the impersonal content of the photographic compositions projected through the conventionalized embodiments adhere to opening the prospect of recognizing the rarely realistic faculty of feminist psyche of Iranian women and the limitation the stereotypes have proposed on identifying feminine Iranian art without the presence of such figurative re-repetitions.
