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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 donít mean conceptual depth but physical depth: Nafissehís images lack depth but outwardly, they function so perfectly that every centimeter of each image grabs oneís attention tremendously. Donít content yourself with only seeing the mirage of imagesí 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 Nafissehís 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...Nafissehís equation is formed this simple, as if sheís meditating; she solves the equation in a new way each time and finds out the result. But the result is vague, itís pleasurable, itís mysterious and in the end, the images she creates turn out to be the product of her approach. Nafissehís 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 GavzanÖbut thatís alright! Nafisseh follows her own path and I donít 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 bodyís breathing is Nafisseh.

Aydin Xankeshipour

August 2017