{"id":248,"date":"2024-11-28T22:43:47","date_gmt":"2024-11-28T22:43:47","guid":{"rendered":"https:\/\/parastooahovan.com\/?page_id=248"},"modified":"2026-02-09T20:48:08","modified_gmt":"2026-02-09T20:48:08","slug":"store","status":"publish","type":"page","link":"https:\/\/parastooahovan.com\/index.php\/store\/","title":{"rendered":"Cross Woven Narratives"},"content":{"rendered":"\t\t
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Recent Solo Exhibition at Vanda Gallery, Agust 5th to 30th\u00a0 2025<\/strong><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 Gol-o-<\/b>Morgh<\/b>
<\/b>\u00a0 \u00a0 (Flower and Bird motifs in Persian miniatures)
\u00a0 \u00a0 42×30 inches \/ 107×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2025<\/p>

\u00a0 \u00a0 Inspired by the traditional Persian miniature style, Gol-o-Morgh references one of the most iconic motifs in\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Iranian art. In this work, I reimagine the classic imagery by allowing the birds and flowers to emerge from the\u00a0 \u00a0 \u00a0 surface, spilling out from the table into three-dimensional space as if coming alive.<\/p>

\u00a0 \u00a0At the center is a self-portrait, partially obscured behind the blossoming branches and fluttering birds, holding\u00a0 \u00a0 \u00a0 a single flower. The scene suggests the birds in motion, circling gently around her. The background and\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 figure are painted with acrylic on raw canvas, while the face is rendered with textile, a shredded fabric\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 element symbolizing loss, fragmentation of memory, and the erosion of Iran\u2019s cultural history.<\/p>

\u00a0 \u00a0 \u00a0This interplay between painting and textile reflects both continuity and rupture, merging tradition\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0with\u00a0<\/span>personal narrative.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0
\u00a0 \u00a0 \u00a0Another Resurrection<\/strong>
\u00a0 \u00a0 \u00a063 x 49 inches \/ 160×124 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas
\u00a0 \u00a0 \u00a02024<\/p>

\u00a0 \u00a0 \u00a0Another Resurrection<\/em> draws inspiration from both Persian miniature painting and Michelangelo\u2019s Piet\u00e0<\/em>. The\u00a0 work merges the intricate patterns and rich colors of Persian art\u2014seen in the clothing and background, with\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the sculptural formality and emotional depth of the Renaissance masterpiece.<\/p>

\u00a0 \u00a0 \u00a0This blending of Eastern and Western visual languages becomes a vessel for exploring beauty intertwined\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0with grief. The central figures embody the sorrow of a mother holding her lost child, a universal image of love.\u00a0 \u00a0 \u00a0 \u00a0 and mourning. I dedicate this painting to the mothers of Iran who lost their children during the revolution of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the past year, honoring their resilience and immeasurable loss.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0
\u00a0 \u00a0 \u00a0The Eyes<\/strong>
\u00a0 \u00a0 \u00a042×30 inches \/ 107×76 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas
\u00a0 \u00a0 \u00a02023<\/p>

\u00a0 \u00a0 \u00a0The Eyes merges the visual language of Persian miniature painting with the influence of a well-known\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 photograph of Frida Kahlo. The intricate colors and patterns are drawn from historical Iranian miniatures,\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 while the composition weaves together Eastern and Western artistic details.<\/span><\/p>

\u00a0 \u00a0 \u00a0 The face is rendered with shredded textile, symbolizing the fragmentation of memory and the erosion of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Iran\u2019s cultural history. This work is dedicated to the women and girls in Iran who lost their eyes during recent.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 protests, when government forces deliberately targeted and shot them. It stands as a tribute to their\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 courage,\u00a0 pain, and unbroken spirit.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0\u00a0
<\/strong>\u00a0 \u00a0 The Authority of the King<\/strong><\/p>

\u00a0 \u00a0 66×48 inches \/ 168×122 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas
\u00a0 \u00a0 \u00a02018<\/p>

\u00a0 \u00a0 \u00a0Inspired by one of the oldest Persian carpets, the Houshang Shahi Carpet,\u00a0<\/em>this work draws on the legendary\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 story of Houshang Shah, the founder of the first dynasty in Iran, as told in Shahnameh<\/em>.<\/p>

\u00a0 \u00a0 \u00a0In the Qajar era, depictions of this story were often used by kings to align themselves with the grandeur of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Iran\u2019s ancient past. By referencing Houshang Shah, they sought to connect their own reign to the origins of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Iranian civilization, reinforcing their political and cultural authority while positioning their rule among the most\u00a0 \u00a0 \u00a0 \u00a0powerful in the nation\u2019s history.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0\u00a0
<\/strong>\u00a0 \u00a0 The Abigails<\/strong><\/p>

\u00a0 \u00a0 66×53 inches \/ 168×135 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2021
\u00a0 \u00a0\u00a0Inspired by one of the oldest Persian carpets\u2014the <\/span>Houshang Shahi Carpet<\/em>\u2014this work draws on the legendary\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 story of Houshang Shah, the founder of the first dynasty in Iran, as told in <\/span>Shahnameh<\/em>.<\/span><\/p>

\u00a0 \u00a0 In the Qajar era, depictions of this story were often used by kings to align themselves with the grandeur of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Iran\u2019s ancient past. By referencing Houshang Shah, they sought to connect their own reign to the origins of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Iranian civilization, reinforcing their political and cultural authority while positioning their rule among the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 most powerful in the nation\u2019s history.\u00a0<\/p>

\u00a0<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0\u00a0
<\/strong>\u00a0 \u00a0 Heritage<\/strong><\/p>

\u00a0 \u00a0 42×30 inches \/ 107×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 202<\/p>

\u00a0 \u00a0 Heritage<\/em> is a self-portrait that merges the visual language of Persian miniature painting with the influence of
\u00a0 \u00a0 The Lady with an Ermine<\/em> (c. 1489\u20131491) by Leonardo da Vinci. The composition combines the intricate patterns\u00a0 \u00a0 \u00a0 \u00a0 \u00a0and vibrant colors of traditional Iranian miniatures with Western Renaissance portraiture, creating a dialogue\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0between two artistic legacies.
\u00a0 \u00a0 \u00a0By weaving together Eastern and Western elements, the work reflects a layered personal identity shaped by\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0cultural history, migration, and the blending of traditions.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0
\u00a0 \u00a0 Waiting for the Promised day<\/strong>
\u00a0 \u00a0 42×30 inches \/ 107×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2021
<\/span>
\u00a0 \u00a0 Waiting for the Promised Day is a self-portrait that fuses the elegance of Persian miniature painting with the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 influence of The Portrait of Smeralda Brandini (c. 1475) by Sandro Botticelli. The work incorporates the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 intricate patterns, symbolic motifs, and vivid colors of traditional Iranian miniatures, blending them with the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 compositional sensibility of Renaissance portraiture.
<\/span>\u00a0 \u00a0 The face is rendered with shredded textile, a recurring motif in my work that symbolizes cultural erasure, lost\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 memories, and the fragmentation of identity. By merging Eastern and Western visual languages, the painting\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 reflects a layered personal narrative, one shaped by heritage, displacement, and the enduring hope of a\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u201cpromised day.\u201d<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0
\u00a0 \u00a0 The Color of Life<\/strong>
\u00a0 \u00a0 42×30 inches \/ 107×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2025<\/p>

\u00a0 \u00a0 The Color of Life is a self-portrait inspired by the intricate elegance of Persian miniature painting, combined\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 with the influence of one of Frida Kahlo\u2019s self-portraits. The work merges Eastern and Western visual traditions,\u00a0 \u00a0 \u00a0 weaving together vibrant colors, ornate patterns, and symbolic motifs.<\/p>

\u00a0 \u00a0The composition reflects a celebration of resilience and vitality, using the fusion of cultural aesthetics to explore\u00a0 \u00a0 \u00a0personal identity and the layered intersections of heritage, memory, and self-expression.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0
\u00a0 \u00a0 Untitled<\/strong>
\u00a0 \u00a0 42×30 inches \/ 107×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2025

\u00a0 \u00a0 Untitled is a self-portrait inspired by the refined detail and symbolism of Persian miniature painting, infused with\u00a0 \u00a0 \u00a0 \u00a0 the spirit of the Kurdish women and girls who fought with courage and resilience against ISIS in Syria, and the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 women of Iran who rose during the Woman\u2013Life\u2013Freedom revolution.<\/p>

\u00a0 \u00a0 The work intertwines historical artistic traditions with contemporary narratives of resistance, using intricate\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 patterns, vivid colors, and symbolic forms to honor strength, sacrifice, and the unyielding fight for freedom. It\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 stands as both a personal reflection and a tribute to women whose bravery continues to shape history.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0The Spectators<\/strong>
\u00a0 \u00a0 30×30 inches \/ 76×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2021<\/p>

\u00a0 \u00a0The Spectators draws inspiration from the intricate detail and storytelling of Persian miniature painting, combined\u00a0 \u00a0 \u00a0 \u00a0 with the tender figures of Putti from Raphael\u2019s Sistine Madonna (1512). The composition merges Eastern and\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Western traditions, weaving together the ornate patterns and vibrant colors of Iranian art with the grace and\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 symbolism of the Italian Renaissance
<\/span>\u00a0 \u00a0 The work reflects on observation and presence, silent witnesses to history, captured in a space where cultural\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0motifs and artistic languages meet.<\/span><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 Holiness of the Margins<\/strong>
\u00a0 \u00a0 30×30 inches\u00a0 \/ 76×76 cm
\u00a0 \u00a0 Acrylic on Canvas
\u00a0 \u00a0 2023<\/p>

\u00a0 \u00a0 Holiness of the Margins is inspired by the intricate beauty of Persian miniature painting and the geometric\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 elegance of Islamic design in Iran. The work reflects on the historical tension between Iran\u2019s pre-Islamic royalty\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 and its Islamic era, examining how cultural identity has been shaped, challenged, and redefined over centuries.
<\/span>\u00a0 \u00a0 Through layered patterns, vivid colors, and textile-like textures, the painting becomes a space where history\u2019s\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 intersections are at once in conflict and in dialogue\u2014revealing both the complexity and the resilience of Iran\u2019s\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 cultural heritage.<\/span><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 The Persian cat & I<\/strong>
\u00a0 \u00a0 30 x 30 inches \/ 76×76 cm
\u00a0 \u00a0 Acrylic on Canvas\/ Textile
\u00a0 \u00a0 2025
<\/span>\u00a0 \u00a0
<\/span>\u00a0 \u00a0The Persian Cat & I draws inspiration from the vivid colors and intricate patterns of Persian miniature painting. This\u00a0 \u00a0 \u00a0 \u00a0 self-portrait depicts the artist holding an agitated Persian cat, its tense posture mirroring the current political\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 climate in Iran.<\/span><\/p>

\u00a0 \u00a0 The combination of delicate, ornate motifs with the cat\u2019s restless energy creates a visual metaphor for a society\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 caught between beauty and turmoil, reflecting both cultural richness and the unease of the present moment.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 The Bird & I
<\/strong>\u00a0 \u00a0 30×30 inches \/ 76×76 cm
\u00a0 \u00a0 Acrylic on Canvas\/ Video Installation\u00a0
\u00a0 \u00a0 2020<\/span>
<\/span><\/p>

\u00a0 \u00a0The Bird & I is a video-painting self-portrait that merges traditional painting with digital animation. An animated bird\u00a0 \u00a0 \u00a0 \u00a0flutters across the canvas, perching on the figure\u2019s hand and among the flowers.
\u00a0 \u00a0The bird serves as a symbol of freedom, life, and joy, its movement bringing the still image to life and blurring the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0boundaries between reality and imagination. This interplay of mediums reflects a longing for liberation and the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0enduring presence of hope.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0Self-portrait<\/strong>
\u00a0 \u00a0 \u00a030 x30 inches \/ 76×76 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas
\u00a0 \u00a0 \u00a02018
\u00a0\u00a0 \u00a0 Self-portrait depicts a woman in a military setting, embodying the juxtaposition of beauty and war, delicate yet\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 powerful. The work reflects the strength and resilience of women today, honoring both the Kurdish women who\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 fought bravely against ISIS in Syria and the courageous women of Iran who rose in the recent Woman\u2013Life\u2013\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Freedom revolution.<\/span><\/p>

\u00a0 \u00a0 Through its layered symbolism, the painting becomes a tribute to women whose courage defies oppression and\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 whose presence reshapes history.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0She is a queen
<\/strong>\u00a0 \u00a0 \u00a030×30 inches \/ 76×76 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas
\u00a0 \u00a0 \u00a02020
\u00a0 \u00a0 \u00a0
\u00a0 \u00a0 This piece is my first self-portrait, merging the colors, patterns, and intricate designs of Persian miniature painting\u00a0 \u00a0 \u00a0 \u00a0 with a contemporary approach. The background and decorative elements are inspired by the elegance and\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 symbolism of this traditional art form, reinterpreted through my own perspective. By portraying\u00a0 an Iranian woman,\u00a0 \u00a0 \u00a0 \u00a0 depicted as a queen, I celebrate empowerment, cultural heritage, and the enduring beauty of Persian artistic\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 traditions.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0Self-Portrait<\/strong>
\u00a0 \u00a0 \u00a030×30 inches \/ 76×76 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas
\u00a0 \u00a0 \u00a02020

\u00a0 \u00a0 \u00a0This self-portrait is painted using a single pigment, with gold reserved for the crown and jewelry, evoking both\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0regality and timelessness. The face is intentionally obscured with shredded textile, echoing the recurring motif in\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 my self-portrait series\u2014portraits without faces\u2014symbolizing a sense of loss, fragmentation, and disorientation\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 within the history of my country.
<\/span>\u00a0 \u00a0 Through the contrast of luminous gold and the absence of facial identity, the work becomes a meditation on\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 cultural memory, personal displacement, and the struggle to find one\u2019s place within a fractured historical narrative.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0Deliverance<\/strong>
\u00a0 \u00a0 \u00a025x20x12 inches \/ 63x51x30cm
\u00a0 \u00a0 \u00a0Fiberglass & Bronze\u00a0
\u00a0 \u00a0 \u00a02022
\u00a0 \u00a0 \u00a0 Deliverance is a portrait sculpture from the ongoing self-portrait series, crafted in fiberglass and bronze. Inspired by\u00a0 \u00a0 \u00a0 \u00a0 the intricate beauty of Persian miniature painting, the work incorporates its rich colors, delicate patterns, and\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 symbolic elegance into three-dimensional form.
\u00a0 \u00a0 The figure holds a bird gently in her hand, a symbol of freedom, hope, and transcendence. Through the interplay of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 enduring bronze and lightweight fiberglass, the sculpture reflects both strength and fragility, embodying the desire\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 for liberation that runs through personal and collective histories.<\/span><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0
\u00a0 \u00a0 \u00a0The Red Line<\/strong>
\u00a0 \u00a0 \u00a046 x 30 inches \/ 117×76 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas \/ Textile
\u00a0 \u00a0 \u00a02015<\/p>

\u00a0 \u00a0 The Red Line is a minimal yet immersive exploration of form, created through the transformation of the canvas into\u00a0 \u00a0 \u00a0 \u00a0 a textile. Painted in red on the reverse side, the work allows its color to surface subtly on the front through deliberate\u00a0 \u00a0 \u00a0 shredding, revealing fleeting glimpses of the hue within the composition. This restrained gesture serves as a\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 metaphor for the artist\u2019s expatriate identity, existing between Eastern and Western worlds, where layers of culture,\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 memory, and belonging remain partially hidden yet inevitably exposed.
\u00a0 \u00a0 The line deliberately extends beyond the canvas, crossing the border and leaving the frame, evoking the act of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 moving beyond imposed boundaries.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0Rebuilt<\/strong>
\u00a0 \u00a0 \u00a030x30x7 inches \/ 76x76x18 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas\/ Textile
\u00a0 \u00a0 \u00a02024
\u00a0 \u00a0 Rebuilt is an immersive three-dimensional exploration created entirely through the transformation of canvas into\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 textile, pushing beyond the limits of conventional painting. Painted in red on the reverse side, the work reveals subtle\u00a0 \u00a0 \u00a0 traces of color on the front through a process of shredding and reassembling the material. In reconstructing the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 canvas into a new form, the piece emerges as a half-globe projecting from the surface\u2014symbolizing renewal,\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 resilience, and the continual re-formation of identity. This act of deconstruction and reconstruction reflects the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 artist\u2019s experience as an expatriate navigating between Eastern and Western worlds, where fragments of culture,\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 memory, and belonging are dismantled yet reimagined into a unified whole.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0Rebuilt Realm<\/strong>
\u00a0 \u00a0 \u00a030x30x4 inches \/ 76x76x10 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas \/ Textile
\u00a0 \u00a0 \u00a02024

\u00a0 \u00a0 \u00a0Rebuilt Realm continues the artist\u2019s immersive exploration of three-dimensional form through the transformation of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0canvas into textile. Painted in green on the reverse side, the work reveals subtle glimpses of color on the front\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0through a process of shredding and reassembling the material into layered, sculptural shapes. This act of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0deconstruction and reconstruction becomes a metaphor for the artist\u2019s expatriate identity, existing between Eastern\u00a0 \u00a0 \u00a0 \u00a0and Western worlds, where cultural memory, displacement, and belonging are dismantled, reformed, and woven into\u00a0 \u00a0 \u00a0 \u00a0a renewed whole.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0Beyond the Canvas (No. 2)<\/strong>
\u00a0 \u00a0 \u00a030 x 30 inches \/ 76×76 cm
\u00a0 \u00a0 \u00a0Acrylic on Canvas\/ Textile
\u00a0 \u00a0 \u00a02014
\u00a0 \u00a0
\u00a0 \u00a0 \u00a0Beyond the Canvas (No. 2) continues the artist\u2019s immersive exploration of minimal form, this time through the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0geometry of a square. Created solely by transforming canvas into textile, the work transcends conventional painting\u00a0 \u00a0 \u00a0 \u00a0 \u00a0to occupy a space between object and image. Painted green on the reverse, the color emerges subtly on the front\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0through the deliberate shredding of half the square, its visible fragments completing the form. This interplay of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0absence and presence reflects the artist\u2019s expatriate identity, navigating the thresholds between Eastern and Western\u00a0 \u00a0 \u00a0 \u00a0worlds, while challenging the boundaries of material and meaning.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00a0 \u00a0 \u00a0 \u00a0Beyond the Canvas (No. 1)<\/strong>
<\/strong>\u00a0 \u00a0 \u00a0 \u00a030 x 30 inches \/ 76×76 cm
\u00a0 \u00a0 \u00a0 \u00a0Acrylic on Canvas\/ Textile
\u00a0 \u00a0 \u00a0 \u00a02014

\u00a0 \u00a0 \u00a0 Beyond the Canvas (No. 1) is an immersive study of minimal form, in which a simple circle emerges through the\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 transformation of canvas into textile. Painted in red on the reverse side, the work reveals the hue subtly on the front\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 through deliberate shredding, allowing the color to pulse quietly through the surface. This interplay between seen\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 and unseen becomes a metaphor for the artist\u2019s expatriate identity, shaped by the tensions and harmonies between\u00a0 \u00a0 \u00a0 \u00a0 Eastern and Western influences, while also pushing the boundaries of what a painting can be.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Recent Solo Exhibition at Vanda Gallery, Agust 5th to 30th\u00a0 2025 \u00a0 \u00a0 Gol-o-Morgh\u00a0 \u00a0 (Flower and Bird motifs in Persian miniatures) \u00a0 \u00a0 42×30 inches \/ 107×76 cm \u00a0 \u00a0 Acrylic on Canvas\u00a0 \u00a0 2025 \u00a0 \u00a0 Inspired by the traditional Persian miniature style, Gol-o-Morgh references one of the most iconic motifs in\u00a0 \u00a0 …<\/p>\n

Cross Woven Narratives<\/span> Read More »<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-248","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/pages\/248","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/comments?post=248"}],"version-history":[{"count":98,"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/pages\/248\/revisions"}],"predecessor-version":[{"id":876,"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/pages\/248\/revisions\/876"}],"wp:attachment":[{"href":"https:\/\/parastooahovan.com\/index.php\/wp-json\/wp\/v2\/media?parent=248"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}