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Aisling Sareh Haghshenas

The first question I am always asked is: You stayed? Why? You could have left….. easily, years ago……
I am a Tehrani! Tehran is my home.
The Tehran of my childhood is not what you see. Over the past 40 years parts of Tehran have completely changed as though the city I knew is a distant memory.
My Tehran is disappearing before my eyes. It is changing into a scary ugly concrete monster. It is rapidly changing and the people who have moved here have no sense of belonging.  I love the city I see, but it only exists in my memory, it as though there is a city co-existing parallel to this Tehran, and that is the city I paint.
I am a Tehrani but Tehran is no longer my city.
I clearly remember the weekends of Tehran and going for walks and drives with my parents. My Tehran has colours, each neighbourhood and street with its own colour and a smell. These colours are now replaced with concrete, stone and strange forms. To this day when someone mentions a neighbourhood I imagine the colours. Colours and scents which come from trees, gardens, swimming pools and even public hangings in city squares, the colour of memories whether good or bad.
There are many trees, houses and streets that will always remain in my memory though they disappeared years ago.  In this collection I have tried to share my colours with you, before they become a faded memory.
These are some of the colours of my vanished Tehran.


Mahdieh Pazoki

The Margin versus The Text These created artworks inspired by the geometric and traditional decoration of Iranian architecture. Geometric motifs in traditional artworks attributed to the sublime, due to the fact that, its design is based on mathematical ratios between basic geometric shapes, and it has been tried, in the past, that the human senses have the least interference in its creation. Combining architectural decorative and feminine elements tends to create new forms that are at odds with its sacred basic derivation.
Created partitions and failures between geometric forms or sprains in it, have tried to tarnish and reducing its predetermined sustainable order and balanced geometric structure; ultimately traditional elements characterized other than what is common and they have also distanced themselves from mere ornamentation and reproduce new concepts and elements.
The artworks positioning on the corners and the margins accentuate ignored and neglected places in a constant cubic space and it attempts to challenge the tyranny on the conventional space of artworks exhibition, which is a determining factor on work of arts and challenge the status quo.
Finally, the nature and the function of the materials, which are used in the artworks are in conflict with the tradition.


























    second floor