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Nafisseh
Sedighi
I
can
take
your
hand
and
lead
you
to
the
exact
spot
where
Nafisseh
sat
and
looked.
I
can
seat
you
there
so
that
you,
too,
would
take
a
good
look.
I
don’t
mean
conceptual
depth
but
physical
depth:
Nafisseh’s
images
lack
depth
but
outwardly,
they
function
so
perfectly
that
every
centimeter
of
each
image
grabs
one’s
attention
tremendously.
Don’t
content
yourself
with
only
seeing
the
mirage
of
images’
abstraction.
Instead,
you
should
get
closer
to
learn
how
one
can
love
a
living
creature,
touch
it
and
appreciate
it.
Nafisseh
has
touched
nature
in a
way
a
blind
person
touches
braille
where
her/his
touch
is
the
only
means
of
understanding.
And
what
an
understanding,
abundantly
sensual!
What
stands
out
is
the
act
of
likening
the
trees
to
body
which
portrays
Nafisseh’s
obligation
to
[cherishing]
the
fact
that
the
trees
are
alive.
Body!
The
way
it
reveals
its
softness,
it
dances,
becomes
wild,
naked,
it
calms
down,
comes
to
be
still
and
gets
covered.
Tree,
body
and
nature...Nafisseh’s
equation
is
formed
this
simple,
as
if
she’s
meditating;
she
solves
the
equation
in a
new
way
each
time
and
finds
out
the
result.
But
the
result
is
vague,
it’s
pleasurable,
it’s
mysterious
and
in
the
end,
the
images
she
creates
turn
out
to
be
the
product
of
her
approach.
Nafisseh’s
creations
might
resemble
works
of
others
who
have
also
observed
nature,
such
as
Sepehri,
Saeedi
or
those
who
have
chosen
drawing
as
their
primary
medium
like
Gavzan…but
that’s
alright!
Nafisseh
follows
her
own
path
and
I
don’t
see
her
turning
her
head
towards
anybody
else.
One
might
look
attentively
to
the
same
spot
by
the
Zayanderud
River
and
see
the
intermingled
roots,
but,
the
person
who
has
lived
with
the
roots
is
Nafisseh.
The
one
who
has
heard
the
voice
of
body’s
breathing
is
Nafisseh.
Aydin
Xankeshipour
August
2017
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