Maryam Attar

https://www.instagram.com/maryam_attarbashi/

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Maryam Attar Bashi

Visual Artist

My artistic work is deeply influenced by the political and religious socio-cultural landscape in my homeland, especially the challenges I've faced as a woman in post-revolutionary Iran.

Traditional discourse on sex in Iran has centred on male penetration, with little discussion about female pleasure. Sex has often been portrayed as something prurient, believed to contaminate both the body and the spirit. The cultural fixation on the hymen presents contradictions, even in classical Persian literature, which sometimes uses metaphoric references to the hymen while portraying women in a more progressive light. This semester, my central theme has been "Feminism and Activism." I've explored diaspora, displacement, and the pursuit of belonging within the Australian context. I've collaborated with Melbourne's Iranian community, particularly the "Women, Life, Freedom" movement, in various protests, exhibitions, and artistic endeavours in Australia. My contributions include integrating my artworks into banners, posters, and art installations to raise awareness and show solidarity with individuals in Iran. Conceptually, my artworks visually represent the Iranian women's liberation movement and its slogans of "Women, Life, Freedom."

I've focused on composition, form, and the female figure through drawing, painting, and picture transformation to convey this essence. My work has evolved throughout the semester, blending Persian calligraphy, iconography, and symbolism with Australian native wildlife and flora, reflecting the complexities of living at the intersection of different cultures. My commitment to this exploration leads me to experiment with innovative methods and materials that emphasise the underlying themes in my work. My deep passion for this project is rooted in my concerns for Iran. My artistic journey combines elements from Australian and Persian cultures, offering a multifaceted perspective on the narratives and experiences I aim to portray. I've conducted contextual and concurrent research related to social-political developments in Iran. Engaging in discussions with my supervisor, Sofi Basseghi, about contemporary Iranian feminists, artists, activists, and writers has profoundly influenced my artwork. These conversations about women's freedom of expression and the artists operating within this sphere have been instrumental. All the posts I have included in my blog are relevant to my community practice. Sharing these diverse posts has motivated me to conduct additional research, and some of them have provided me with inspiration and new ideas for my upcoming projects. Influenced by artists like Shirin Neshat, Khosro Hasanzadeh, and writers like Azar Nafisi, I draw inspiration for my work. In future projects, I'll continue to explore feminism, politics, and poetics, challenging societal norms regarding physical intimacy and integrating contemporary Iranian art themes such as gender, politics, religion, and spirituality. I also plan to introduce surrealist elements to depict the interplay between reality and imagination, representing unfulfilled dreams constrained by political and religious barriers. The projects will prominently feature hand-drawn illustrations on paper rolls, highlighting the expressive power of pencil strokes and varying pressures. Additionally, I will use collage techniques and Persian calligraphy to create a dynamic and thought-provoking visual narrative, offering a captivating exploration of these multifaceted themes.

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Exhibition: The Making of Mohammadi July 2023

Parita Tina Yeganeh

Prita not only provided me with inspiration for collaborating on my art within the community but also helped me realize the striking similarity between our artistic practices, particularly in the context of portraying the diaspora experience and the quest for a sense of belonging in Australia. Prita's artistic practice is firmly anchored in the re-engagement with heritage and cultural identity, exploring how these identities intricately connect with the land and deserts.

One of her notable exhibitions that deeply inspired me was titled "The Making of Mohammadi," exhibited at the Northern Rivers Community Gallery in July 2023. In this exhibition, Yeganeh delves into the evocative scent of traditional Iranian rosewater and its profound impact on the desert landscape of Gamsar. Every spring, the arid terrain transforms into a wild field of sacred roses, famously known as the Mohammadi flowers of Qamsar. The exhibition showcases the traditional craft of Abri printing, adapted for the silk medium, emphasizing the metamorphosis from desert to rose garden. As the Mohammadi flowers bloom, the seven centuries-old tradition of handcrafting rosewater commences. Yeganeh's memories of Iran are infused with the scent of rosewater, and she intricately weaves this connection with transformative landscapes.

Through the immersive experience of the exhibition, visitors are invited to explore the significance of scent in evoking cultural memories and nostalgia, leading them to reflect on the emotional experience of displacement. For Yeganeh, the scent of rosewater holds an enduring power of comfort and a connection to her Iranian identity. She offered valuable guidance on how we can create a meaningful impact by drawing from our personal experiences of living in a new country, enduring the challenges of being a refugee, and facing cultural and language displacements. She also emphasized the importance of reconnecting with our roots and homeland from the vantage point of Australia.

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A post shared by Prita Tina Yeganeh | प्रीता تینا يگانه (@pritatinayeganeh)

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29, rue d’Astor

1935

Dora Maar

Dora Maar is one of the artists who has significantly influenced my artistic endeavors, particularly through her remarkable photographic collages and photomontages. Among her most renowned works, "The magnificently odd 29, rue d'Astorg," has left a lasting impression on me. I discovered a profound connection between her work and my own practice, as she masterfully juxtaposes entirely incongruous elements, challenging viewers to question its reality while recognizing its fantastical inspiration.

In this particular artwork, a grotesque figurine finds itself in a vaulted corridor within the palace of Versailles, a place where it seems oddly at home yet entirely unreal. This amalgamation of a womanly figure within a poetic and surreal environment resonates with the themes I explore in my own art practice. Moreover, it has inspired me to incorporate surrealist elements into my future projects.

My aim is to depict the interplay between reality and imagination, past and future experiences, representing unfulfilled dreams and wishes constrained by political and religious barriers. However, instead of utilizing photography, my upcoming projects will prominently feature hand-drawn illustrations on paper rolls.

In Focus: Why Dora Maar’s vision placed her in the first rank of Surrealists - Country Life

The brilliant, innovative photographer at the forefront of Surrealism was much more than merely Picasso’s mistress, says Matthew Dennison.

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"One is not born, but rather becomes, a woman. "

Simone de Beauvoir

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There is no other home but this March 5–June 19, 2022

Areez Katki and Khadim Ali

In an exploration of the profound themes of family, folklore, tradition, and Middle Eastern heritage through textiles and fiber art, Areez Katki and Khadim Ali come together in the exhibition titled "There is no other home but this." This exhibition is a continuation of Govett-Brewster's commitment to showcasing art that delves into the concepts of home, family, and ancestral connections.

Areez Katki and Khadim Ali, both residing in Aotearoa New Zealand and Australia, have roots tracing back to the Persian Empire (559 BCE–331 BCE), a region encompassing modern-day Iran, Egypt, Turkey, and parts of Afghanistan and Pakistan. They share a common heritage, having been raised with Persian literature, language (Farsi), and, in Areez's case, an initiation into the indigenous Zoroastrian faith. Their creative works draw inspiration from this shared legacy and intertwine it with their personal experiences. These pieces symbolize themes of royalty, battles, and legends, often reminiscent of illustrated manuscripts.

Furthermore, my own artworks resonate conceptually with these themes, as I explore displacement, culture, and the integration of poetry into my creative process.

Areez Katki and Khadim Ali: There is no other home but this - Announcements - e-flux

Surveying the practice of Areez Katki and Khadim Ali There is no other home but this continues the Govett-Brewster’s focus on art that embra

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"The Sin"

1955

Forough Farokhzad

"The Sin" by Forough Farrokhzad, a celebrated feminist poet, delves into themes of intimacy, serving as a substitute for traditional religious symbolism. A noticeable parallel emerges between the poem's portrayal of a fearless woman, perhaps symbolizing the poet herself in an act of rebellion, and my artwork. Through my illustrations, I express my identity as a bold performer who fearlessly embraces a lover and challenges established religious norms.

Forough Farrokhzad's poems are undeniably autobiographical and offered a distinctly feminine perspective. Through her works, she elevated the presence of women in poetry, championing their cultural significance. She fearlessly addressed issues of discrimination and inequality. Her poems fall under the category of "modern" as opposed to "traditional" forms that were rejected by Iran's academic community during her era. Farrokhzad's poetry revolves around intimate secrets, desires, and the sorrows of Iranian women, implicitly rebelling against societal taboos within her homeland.

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" Turbulent'

1998

Shirin Neshat

 

I have discovered a significant connection between my artwork and Shirin Neshat's "Turbulent." Neshat's two-screen film installation delves into the issue of gender inequality in Iran. On one screen, a male singer performs a traditional Persian romantic song to a live audience, while on the other screen, a woman stands in an empty concert hall with her back to the camera. The female artist is prohibited from performing in public due to Iranian government restrictions.

Following the male singer's performance, the female artist conveys her emotions through wordless gestures and passionate sounds. Notably, the camera remains stationary during the male performance but slowly rotates around the female performer, underscoring her presence and voice. This contrast in camera movement highlights the unequal rights of men and women, illustrating how men enjoy more freedom and privilege.

The female performer symbolizes the collective voice of women in the face of gender inequality. Her silent musical expression following the male performance conveys a sense of resilience. "Turbulent" is deeply rooted in Iran's political context, specifically addressing the ban on women's public music performances.

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"The Conference of the Birds"

Illustrated by Mohammad Barrangi

2022

This book is one of the artworks that has greatly influenced me. This book has inspired me through its poetic and nostalgic illustrations, which seamlessly blend traditional Persian calligraphy and collage printing. Given that my artistic focus revolves around feminism, I also appreciate the shared theme of using women's portrayal as birds in the illustrations.

"The Conference of the Birds" is a literary work written in the 12th century by the poet and mystic, Attar. It tells the story of how the birds of the world come together on a quest to find a mythical king known as "The Simorgh."

In his illustrations, Mohammad Barrangi incorporates various Eastern elements and elements drawn from his memories, personal history, and the city of his origin. Notably, women take center stage as the primary characters in his artwork, and he utilizes collage printing and Persian Nasta'liq calligraphy to bring his creative vision to life.

The fusion of these elements in Barrangi's work enriches the interpretation of Attar's timeless narrative, creating a unique and captivating visual experience.

Mohammad Barrangi Fashtami on Instagram‎: "I’m too excited 🥳🥳🪐🤍 My book was published in Germany and in Deutsch 💫⭐️ This book is in Germany

1,154 likes, 191 comments - mohammad.barrangi on July 21, 2022: "I’m too excited 🥳🥳🪐🤍 My book was published in Germany and in Deutsch 💫⭐️ Th

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"The Second Sex"

1949

Simone de Beauvoir

Simone de Beauvoir's philosophy strongly influences my art. She redefines biological development, framing life as a series of historical moments. She highlights the significance of contemporary events, especially in conflicts, where cultural identities break down, sparking moral and political dilemmas.

Simone de Beauvoir in her classical work " The second Sex"expresses that she never personally felt discriminated against as a woman. She articulates this by stating, "I don't feel that I am a woman; I am me." She perceives herself as a human being in the world, and the world is open to her without the limitations of gender. She acknowledges that she was born into a world dominated by men, and she lacked the same opportunities as men due to societal structures.

De Beauvoir introduces the idea that we are in constant flux, always evolving. She criticizes the attempt to confine women within rigid notions of femininity, freezing them into static objects rather than recognizing that women, like men, are ever-changing.

Her concept of "sexes ideology" extends beyond merely femininity; she argues that femininity should not be tied to one's birth. De Beauvoir believes that femininity is restrictive and confining, akin to a straightjacket, especially when society immediately categorizes and limits a person as soon as they recognize a female body.

In summary, Simone de Beauvoir's "The Second Sex" challenges conventional gender roles and advocates for the recognition of women as individuals rather than products of their biology, aiming to free them from the constraints of societal expectations and static definitions.

Simone de Beauvoir: becoming a woman - ABC listen

Simone de Beauvoir wrote that “One is not born, but rather becomes, a woman”. It’s a much-quoted phrase that appears to speak presciently to

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Terrorist: Khosrow from the Terrorist series, 2004 

Khosrow Hassanzadeh

Khosro Hasanzadeh's "Terrorist Series" has had a profound influence on my artistic journey as it challenges Western notions of terrorism. His visual narratives, which incorporate family and religious symbols, defy Western perceptions of Islam by portraying himself, his mother, and his sisters – individuals who practice the Muslim faith – as terrorists. This encourages viewers to reevaluate their preconceptions and question Western moral authority in defining terrorism. It also prompts reflection on self-perception versus portrayal in the Middle East.

Inspired by Hasanzadeh, my illustrations disrupt entrenched norms and labels associated with religion and culture. They aim to foster a more inclusive discourse, transcending limiting labels through visual representation. Hasanzadeh’s series influenced my exploration of art, ideology, and identity, reevaluating Western definitions and confronting normative constructs. 

Khosrow Hassanzadeh | Terrorist: Khosrow from the Terrorist series (2004 ) | Artsy

From Asia Society, Khosrow Hassanzadeh, Terrorist: Khosrow from the Terrorist series (2004 ), Acrylic and silkscreen ink on canvas, replica

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"Playing In Wonderland"

Attenborough Art Centre

Jan/2023

Mohammad Barangi

Mohammad Barangi was the Artist who had the greatest influence on me while inspiring me with his illustrations and outstanding printmaking tecniques. He is a paralympics athlete and human rights activist based in the UK. The main characters in his work have always been women. My method and techniques used in the project are mostly inspired by his work. Mohammad Barrangi’s recent exhibition “Playing in Wonderland” at Attenborough Arts, Leicester University. Considering what happened in Iran The artist preferred to present a part of the exhibition to woman and ladies in Iran. 

The artist proceeded to an appeal on social media because of the uprising in Iran, asking women for their portraits to make a work of art as a message of support for the women of his country. 

(ALETHEA MAGAZINE, 2022). Women from Saudi Arabia, Mexico, and even the USA, also women in hijab from Iran and Pakistan submitted their photos.Mohammad covered a huge wall with black and white prints of the portraits, some of the portraits are shown in red, and are portraits of girls and women who have lost their lives. 

The photos were reflected in the pool that was placed in front of the wall, filled with red water representing blood. There was also a sound of one of the young victims playing which made the artwork very powerful.

Mohammad Barrangi Fashtami on Instagram

Play in Wonderland 🎪🎡🎠🎠 from attenboroughac Mohammad Barangi’s latest solo exhib...

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Mohammad Barrangi Live Art Installation at the San Diego Museum of art - Oct 4- Oct 6th and on view through Oct 13th. 

Mohammad Barangi was the Artist who had the greatest influence on me while inspiring me with his illustrations and outstanding printmaking techniques. 

ADVOCARTSY on Instagram: "Mohammad Barrangi Live Art Installation at the San Diego Museum of art - Oct 4- Oct 6th and on view through Oct 13

771 likes, 28 comments - advocartsy on October 6, 2023: "Mohammad Barrangi Live Art Installation at the San Diego Museum of art - Oct 4- Oct