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Edge of Vision

Group Exhibition

Opening on 12th August 2022
On view until 2nd September 2022

Shoora Majedian- Maryam Amir Vaghefi- Sara Soleimani Ghashghai- Nazgol Nayeri- Noushin Vedaei.

This exhibition studies the limits of what can be revealed and what cannot, about edges that artists frequently choose to stand on—shedding light on what is ordinary, such as childhood memories, and what ought to be ordinary, such as attending a simple game of football. The Complexities of seeing and not seeing, or rather not wanting to see, are part of modern life. So are issues and memories that linger on and carve their own path on artists’ psyches. Art forces us to look at the outer boundaries of the peripheral, despite all the limitations of the visual field, and eventually to enjoy what is outside our direct line of sight.
In Shoora Majedian‘s work, recollection and accessing through remembering a moment bring about a formal openness and incompleteness that can simultaneously represent the conflict of her lived experience. The ink runs freely, and it is hard to stop it, and when it dries, it builds a stone-like and rigid texture on the paper. Similarly, social trauma causes shock that spills over generations, and it is hard to contain its aftermath.
Sara Soleimani Ghashghai’s works are immersed in color, zest, childhood adventures, and playfulness as if on a subjective roller-coaster. Growing up in the shadow of tribal tents and away from city facades, the nomadic lifestyle she witnessed as a child hardly existed anymore. The tribes do not migrate in the way that they used to.
In Maryam Amir Vaghefi‘s practice, the autobiographical nature of work is gender-based. While she lives abroad, she has determined that sports, specifically sports-related imagery, are legitimate vehicles for exploring notions of ethnicity, gender, and politics while trying to reconcile her situation.
Nazgol Nayeri escapes to a suspended world, where objects and human forms are removed, and an intuitive and visual space has taken shape. A new vista of the inner life. Where for the artist, the ultimate charm is in the more abstract form, as direct and obvious as it may be.
Noushin Vedaei challenges the conflict of good and evil, an eternal duality, and the human situation that seems to be stranded in the middle of barren lands in pursuit of countless mirages. One should halt and deliberate and see with open eyes before the Tree that has grown in the wastelands and has whispered existence and fortitude stops breathing.

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