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The Abysmal Sun concept got its form at a time in my life when I could, rarely see a movement. A time of pause. For stillness and reflection of the loop of life.
“Out beyond ideas of wrongdoing and right-doing, there is a field. I'll meet you there.” Was a poem by the late poet Molana Jal e din Rumi which inspired all the design and choreographic actions in the piece.

My artistic research is tied to cultural narratives - especially written and oral tales within a specific community - and to stories
recounted through different images that emerge in popular material culture, folklore,

communitarian and religious rituals as well as in vernacular museography and its displays. The research I conduct on these discursive and visual archives often originates from an
interest in anthropological and ethnographical analyses and methodologies and later develops in the creation of performative actions. I am interested in the human attitude towards natural and artificial elements and in how this relationship has created systems of belief and organized schemes for the world. With my performative actions, I aim to interrupt or slow down the rhythm and pace of these regulative plans. I would like to discover new relations between the human’s political and contemporary body with the study of spirit possession and ritual dynamics in a performative way. The project intends to promote a new way of viewing and exploring images related to poetry by focusing on developing and perfecting listening and observing skills, so you can discover new details and hidden nuances. The proposed activities aim to stimulate project-oriented creative thinking using visual arts, movement, and literature in connection to the environment and landscapes.

 

In this interdisciplinary flow between everything and nothing, the desire for stillness is a must. A new design to show an alienated being.
The gap between the self and the other, between determined definitions and new discoveries. A figure moves like the sun calmly and coolly.

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Primo studio

It was in the autumn of 2021 when the untitled work of Behjat Sadr caught my attention.
In that, I could see different qualities of forms,
lines, fluidness, and solids. It seems that all in one it was a storytelling of an era in which I wish I would have been alive.

Behjat Sadr undoubtedly represents one of the most fascinating personalities and trajectories from this rebel modernism which, above and beyond painting – an activity she considered the sun of her life – succeeded in connecting fields such as architecture, the decorative arts and graphic design, until recently disciplines deemed hermetic by the central protagonists of modern art. By connecting them through painting, or even solely through that gesture which marks its direction or impulsion, Behjat Sadr was the creator of a body of work that resembles a trek across highly varied continents and climates linked by their neo-romantic chant of nature “incarnate”.

The nature that speaks, moves, struggles, unravels and fragments, and through every possible and imaginable means transforms itself.
Inspired by her work, I started to think about the idea of an installation in which time and space are Deformed in various shapes. As if the intensity of the ambient is different and there is a constant suspension of presence in the atmosphere.

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Behjat Sadr

untitled 

1974

Tehran museum of contemporary art

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