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CRITICAL REFLECTION

Like a Boat Stuck in a Storm

Christmas was a hard time for me. I got Covid and had to be all alone in my flat for ten days. I was weak from the sickness, sad and lonely. It was the first time in my life after years that I didn’t have anything to do and I had to be all alone with myself. A huge wave of emotions and thoughts that I hadn’t dealt with came up and I felt like a boat stuck in a storm with no way out. I didn’t want to paint, or even think about my project in unit one. So, I rested, for weeks.When unit two started I felt a strong resistance towards painting or doing anything related to art. I was homesick and depressed and since my project was mostly focused on my own experiences as a marginalized person, working on it would bring up even more pain and discomfort for me. In order to get a bit distant from that project I started going to British Museum, visiting the part about Ancient Iran. Many of pieces there are brought there from ancient cities in Iran that are very close to the city I grew up in, Shiraz.

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Home far away from home, sketches from Ancient Iran section of British Museum
Ink on paper

2022
19x19 cm

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For me that part of the museum was like a home away from home. Knowing that all those objects had come from the same region comforted me and seeing familiar shapes and forms on the ceramics was pleasant to my eyes. I started sketching and drawing and having conversations with the pots in my head. One day I was drawing a blue vessel in one of the museum cabinets and I was talking to it in my mind: “Oh blue vessel, look at us. How far we’ve come! You, from thousands of years ago and me, we both know where we have come from, and we both have ended up here. And we have lots of similarities. Both of us are not supposed to be here, but this is the best place we can be! We are both displaced.”

2022
19x19 cm

Drawing form displaced ancient vessels in British Museum
Watercolour and ink on paper

A few weeks before these thoughts, I had come to British Museum with two Iranian friends and while we were visiting the part about Ancient Iran, we were talking about this argument that who has a right to these pieces and in what ways. And we all agreed that although these pieces don’t belong to “British” Museum, but since they are being kept in good conditions maybe it’s best for them to remain here for now. That’s why I told the blue vessel: We are not supposed to be here but this is the best place we can be.

My conversation with the blue vessel from ancient Iran and the connection I felt with it, was the beginning of my new project.

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Sketches of pieces from ancient Iran
Ink on paper

2022
19x19 cm

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Drawing of a bronze belt bucket, which shows an embracing couple, intended to symbolise a happy marriage
Pencil on paper

2022
19x19 cm

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Absence of female figures in the museum
Iranian lithography ink on paper

2022
19x19 cm

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Sketches of pieces from ancient Iran
Ink on paper

2022
19x19 cm

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Sketches of ancient objects that are generally being censored in museums of Islamic Republic of Iran.

You can not find an ancient sculpture of a naked female figure in the museums of Iran, although similar pieces from that region are being kept in museums in other countries. I had a similar experience in Hermitage Museum years ago.
The contemporary culture of Iran has been censored systematically for years that I, as an Iranian, find it hard to imagine that my ancestors were not living under these operations and were ok with showing female figures and human physical interactions.

Drawing of a female figure from ancient Iran
Pencil on paper

2022
19x19 cm

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