Untitled (2025), Soft Sculpture & Participatory Installation A transparent suitcase is tightly filled with hand-sewn, body-shaped dolls made from reclaimed fabric with red-stitched seams. Their anonymous forms evoke tenderness, playfulness, and nomadic trap gesture, soft bodies compressed together like displaced individuals negotiating new borders. The suitcase functions as a portable archive of diasporic vulnerability and resilience. In the exhibition, the piece becomes participatory: viewers are invited to draw the place they long to call “home.” These contributions accumulate over time, creating a collective cartography of belonging that mirrors my own search for rootedness while raising questions about safety, identity, and the meaning of home for immigrants and their children.
Untitled, (2025) ,Sculpture & Video This work features an oversized wooden comb with a small screen embedded at its center. The video shows bare feet moving through clusters of collected hair, the exaggerated foot movements dancing to the popular Iranian song “Baba Karam” (translated as “Generous Father”). The simple, repetitive choreography carries tones of care, intimacy, and quiet resistance. Hair, especially for Iranian women, is a highly politicized and controlled part of the body. By stepping gently through it, the action becomes a soft act of defiance, transforming hair from something regulated into something reclaimed. The comb, a familiar domestic tool, frames this gesture and turns an everyday object into a symbol of resilience and personal agency.
Untitled, (2025) Mixed media sculpture , ceramic, human hair, mirror This biomorphic dome sculpture merges bodily and architectural references. Its exterior resembles a skin-toned, breast-like hemisphere, adorned with gold geometric motifs inspired by Iranian architectural patterns, motifs connected to my mother’s last name, Shams. These architectural forms often symbolize public spiritual spaces that impose restrictions on women’s access compared to men. Through a circular opening framed with human hair, the interior reveals mirrored shards arranged in a radial, dome-like pattern. Viewers see fragmented reflections of themselves, drawing their own bodies into the work. Through this gesture, the piece reclaims architectural sacredness through a feminist lens, transforming a traditionally masculine space into one of female presence, vulnerability, and power.
Title: Zaban Hagh is bitter and heavy Materials: Steel Farsi text, Plaster cast mouth Date: 2023-2024
Untitled #1 laser cut my poetry on mirror , laser cut persian poetry on handmade wooden comb, mirror tile, foam, 3D printing, gold paint 2024
Untitled #2
Untitled#3
Untitled #4
Title: Halal & Haram Medium: burning on marshmaloo Date: 2023
Title: Halal & Haram (Details)
Title: Halal & Haram (Details)
Title: Kojaa (from Homecoming) Medium: Installation, embroidery on empty beer can Date: In progress کجا - Where (Koja) کجایی- Where Are You (Kojaee) هر کجایی -Anywhere you are (Har Kojaee) هر کجا - Anywhere (Har Koja) هرجایی - Everywhere (In Persian slang this word , Har Jaee, means slut )
Title: Ghahr & Ashti (from Homecoming project) Medium: Installation, Female hair, found plastic, Arduino, Led lights, Buzzer, motion sensor Date: In progress Using a found piece of plastic to sew hairballs to it. I use will sew led lights to sew the pattern highlighted above. The pattern is from Pateh a traditional needlework folk art belonging to Kerman a province located in the South-East of Iran. I will use sound for this piece. The sound is from the protest of the Iranian people against climate change and the water shortage crisis, which happened last summer. Several people were shot and killed by the government forces.
Tangled , Hair and fabric, 2022 Veil as a piece of clothes has become an ongoing negotiation for the liberation of my feminine body. The process of Unveiling, veiling and reveling have become complex question for me. Sometimes I lost where my particular experiences are from and where my practice can fit. And I think this is the time that the representation of this ambiguity is important and has the material effect to challenge this space of uncertainty and finally the representation become an individual expression. The distinction between a woman and a real woman is recognized through essential difference in the representation (a woman as cultural imago) and experience (real woman as agent of changes). The repeating pattern of hair threading on the rectilinear shapes of grid pattern fabric, called Chafiyeh or Qafiyeh features a dialogue between my body and the patriarchal power structure of Islamic Republic of Iran. I allow the female hair find its new reception, new connection, and its new effect. The work enacts self as a site of exchange for the materiality of my body with other objects, the presentation of self is understood not to be about the insufficiency of my femininity, but rather it is the enactment of the complexity exists inside the mechanisms of patriarchy.
Interweave , embroidery, fabric, hair, 2022 The work is an installation and there is an embroidered text within my hair. The text is from a traditional poet, Hafez, who is still very famous in Iran. Hafez (1315-1390) Khwāja Shams-ud-Dīn Muḥammad Ḥāfeẓ-e Shīrāzī, known by his pen name Hafez and as "Hafiz", was a Persian poet who " but also targeted religious hypocrisy”. His poems are still important in contemporary Iranian culture. The embroidered text in the work: ناز بنیاد مکن تا نکنی بنیادم زلف بر باد مده تا ندهی بر باد Zolf bar bad madeh ta nadahi bar badam Naz bonyad makon ta nakoni bonyadam The translation of the poet in English: Don’t let your hair with the wind blow Else to the wind, Caution I’ll throw In the background of the text I embroidered some drawings from several photographs depict the moral police of Iran asking women to cover their hair.
