Ghazaleh hedayat biography channels

Ghazaleh hedayat biography channels: This essay proposes a

In doing so, I contextualize the art of these three artists within an art historical genealogy in which the artists from the Global South challenge the identity politics prevalent in the mainstream international art world. After conducting semi-structured interviews with the artists and choosing six works in total two for each artistI position the selected work within feminist and postcolonial critical frameworks to analyze how these artists perform embodiment in relation to their personal lived experiences.

I investigate how they introduce themselves as embodied subjects to problematize the lens through which the artworks of artists from Iran are typically viewed. In this dissertation, I explore what strategies are employed by these artists to undermine this gaze. Hedayat shows the images of her self-portrait and skin scraped off with a sharp tool.

The roughness of such tool scratching the fragility of paper and skin evokes tactile responses in the audience.

Ghazaleh hedayat biography channels: This ethics approval was received for

Producing haptic sensations can be seen in another series, The Crust Here, materials such as nylon stocking fabric and parchment are used to resemble skin. Hedayat underlines the tactility of skin by covering the images of navel, crotch and skin with wrinkled parchment or nylon fabric. By using the materials that cannot conceal the images they cover, she also rediscovers and deconstructs the function of skin as the separator of interior and exterior; the determinant of what is visible and what is invisible.

In her latest series, repetitionshe returns to the technique of scraping off photographs. But in this series larger photographs are used. Not only does this technique intruige audiences, who want to touch the works, but also it can be regarded as a form of self-discovery for the artist. In fact, the act of removal, scraping and defacing the photographs, serves as a tool to go beyond the surface covering the depth, exploring the inner being hidden beneath the skin.

Hedayat scratches the photographs representing her skin, face, and the back of her head and shoulders in a way to create vertical and horizontal grains. It is not clear, however, if the photographs are wrapped with threads that go along or across the length of them, or thread-like lines have been removed from the photographs. These works make what is present confront what is absent.

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Ghazaleh hedayat biography channels: My research examines the convergences of

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