Protester’s Sculpture

A shirtless man in white pants stands on a platform with a green bottle beside him. There's a grayscale photo of him at the bottom left.

This video is based on exploring the concept of a standing human body’s tolerance threshold. The focus is on a body with an open mouth and a microphone positioned within the mouth’s limits. It examines the protestor's body, standing on telecommunication posts as if on a stage. The sculpture engages with time by playing the video on repeat, presenting a man-system perpetually at the boundary of speech, scream, and protest. The threshold for my performer’s open mouth is set at three minutes. This video was exhibited at Videoformes 2022, as part of the SAFPEM collection of Iranian New Media artworks, alongside works by other renowned Iranian artists. It was also shown at Galeria Weber & Weber in Turin, Italy, and Art Active Gallery in Passau, Germany.


A Poem in the Urban Landscape

Collage of a person making a facial expression next to text panels saying "Concrete is hard," "Iron is concrete," and "Trees are weak."
Person covering face with hands, red nails, white background.
Profile view of a person with curly brown hair against a neutral background.

Romantic landscapes serve as the backdrop for an individual's confrontation with nature. The gap between pre-20th-century landscapes and urban life transforms the concept of landscape into a shifting object on an individual map. A new landscape within a city can be healing—floating between different expressions and emotions that emerge in our minds.

A Poem in the Urban Landscape seeks to introduce a new landscape within the passing audience and objects by pushing liminal spaces into dialogue with the city, time, and space, intertwining text and body in an interactive process.

A poem within the city’s landscape offers a subjective means of grasping abstract ideas. It carries a hidden dynamism, much like the relationship between an individual and the city itself. It is a fusion of text—those powerful, eye-catching elements scattered throughout urban space, such as “Follow a line!” It exists at the boundary of the skin.

As time passes, the city drifts between specter and matter, oscillating between memory and sensibility, harshness and softness. This multiplicity of sensations forms a matrix—a space where we might claim ownership of the atmosphere or environment within it. But where is the city truly anchored? Is it rooted within the boundaries of a body?

Person with curly hair and a white shirt looking surprised.
Person with curly hair making a fish face expression against a plain background.