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Artist's Statement
Brief Life History
I come from the town of Ahvaz, in the south of Iran, and was born during the time of the Iran-Iraq War. I was four when the war ended, so I did not experience the conflict directly, but the events of that era were a strong influence on the history of both my family and of the Iranian people. War is a relevant subject to work with, because its impacts are far-reaching. I had no direct connection with the war but because it was ongoing during my childhood it affected many aspects of life. My parents and family members had stories to tell about the war as well. While many in this world are lucky enough to avoid dealing with war directly, they know it from reputation and from images in the media. So everybody has an image of war that exists in his or her head. For me, this makes war a powerful subject matter for my work, drawing on the influence it had on my early life, but applying the theme broadly to connect with the...
I learned that some people would hate us for who we are, but I also learned to be proud. I learned to respect my grandmother's veil, an outward sign of our difference. So my grandmother and mother are both strong influences on my work, and my art is now influenced by my mother's life story. This theme has especially become more prevalent in my work as I have begun more collaborative work with my mother in recent years.
I am also influenced by the architecture that I see around us, framing our human lives. Within the context of this architecture, people can exist as minorities or majority peoples, as men or women, or as combatants. The influence of architecture came mainly from the time I moved to Tehran at age 18. The style of living in the big city was disorienting to me, especially how…
Artist Statement My background and upbringing has had an indelible influence on my work and perspective as an artist. I was born in Paris in 1995 and raised in Beirut, Lebanon. This kaleidoscopic childhood made me sensitive to the arts as I now work as a graphic designer and a street life photographer on the side. ? More importantly, I grew up in a family of artists: I was fortunate enough
Grant Wood The best possible introduction to Grant Wood's American Gothic is the fact that it was listed by The Washington Times as one of the most important icons of the 1930's in America: "Hardship at home and conflict abroad...the Great Depression. Dust bowl farmers sought a harvest of hope...labored to lift the countries spirits...Pitchfork Picture: Grant Wood paints American Gothic." (The Washington Times, May, 1999) Created in 1930, American Gothic captured
She paints her own family, as in this painting of her daughter-in-law and her new babies. Even during this happy occasion, there is a pensive quality about the woman, as if she is contemplating the rigors of raising two babies at once. There are splashes of color, but the dark background is extremely prominent, and the baby nursing indicates the continuation of life and family, all themes that played
Jenny Holzer Many artists seek to have a powerful influence on the public through the drama and communicative elements of their work. Neo-Conceptualist artist Jenny Holzer is certainly among those artists whose strong social and moral values motivate them to speak out on important social and political issues. Holzer's background shows that the artist found her artistic calling after her first two years in college. She was born in 1950 and
Transformative Art The artists that I have chosen to spotlight come from three continents and different ethnicities. They are actors, musicians, lyricists, rappers, poets, and comedians. They are also revolutionaries who are using art to transform the world that they live within into a better place. Saul Williams Saul Williams is an artist with many interests and abilities; he is hard to place in a single category. Saul Williams is a poet-both written
Another artist who fits into the abstract mold and who is also concerned with non-objective art is Robert Pepperell. He differs from the works of Frank Stella in that his works do suggest to some extent a world that lies outside the artwork per se, but his focus is not on an idealistic spiritual area of apprehension but rather on the way that we see the world around us. Like