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      <image:caption>Kakool, 2021</image:caption>
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      <image:title>Photograph</image:title>
      <image:caption>Identity Crisis series, 2018</image:caption>
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      <image:caption>Identity Crisis series, 2018</image:caption>
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      <image:caption>Revolutionary Tulips, 2017</image:caption>
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      <image:caption>Untitled, 2017</image:caption>
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      <image:caption>Mom, 2017</image:caption>
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    <loc>https://sepidehdashti.com/live-performance</loc>
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    <lastmod>2024-07-06</lastmod>
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      <image:caption>Sofreh Nazri, 2022</image:caption>
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      <image:title>Live Performance</image:title>
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      <image:title>Live Performance</image:title>
      <image:caption>Mothering Othering, 2019</image:caption>
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      <image:title>Live Performance</image:title>
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      <image:title>Live Performance</image:title>
      <image:caption>iconoclast, 2017</image:caption>
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      <image:title>Live Performance</image:title>
      <image:caption>Zan, Zendegi, Azadi 2023 University of Memphis campus</image:caption>
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      <image:title>Live Performance</image:title>
      <image:caption>Nest, 2017</image:caption>
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  <url>
    <loc>https://sepidehdashti.com/installation-objects</loc>
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    <priority>0.75</priority>
    <lastmod>2026-01-09</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/56619a06-9bff-4e8c-bdc4-f63f6d528fa5/New+Project+%282%29.jpg</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>Untitled (2025), Soft Sculpture &amp; 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/5f5b707a-d43d-4334-b94c-69249e75f9b7/New+Project+%281%29.jpg</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>Untitled, (2025) ,Sculpture &amp; 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/5a07cec1-3556-4bb8-9ad5-4f005ee72f5c/New+Project.jpg</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/cbaf3941-5b36-437a-b8d6-f3abcd536b10/Zabane-Hagh.JPG</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>Title: Zaban Hagh is bitter and heavy Materials: Steel Farsi text, Plaster cast mouth Date: 2023-2024</image:caption>
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      <image:title>Sculptural objects</image:title>
      <image:caption>Untitled #1 laser cut my poetry on mirror , laser cut persian poetry on handmade wooden comb, mirror tile, foam, 3D printing, gold paint 2024</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/def98628-1481-486c-ad4e-665048c6c8be/Hypocrisy+2.JPG</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>Untitled #2</image:caption>
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      <image:title>Sculptural objects</image:title>
      <image:caption>Untitled#3</image:caption>
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      <image:title>Sculptural objects</image:title>
      <image:caption>Untitled #4</image:caption>
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      <image:title>Sculptural objects</image:title>
      <image:caption>Title: Halal &amp; Haram Medium: burning on marshmaloo Date: 2023</image:caption>
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      <image:title>Sculptural objects</image:title>
      <image:caption>Title: Halal &amp; Haram (Details)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/91af876e-29dd-49e3-9ba8-bf37a099416a/IMG_2907.jpg</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>Title: Halal &amp; Haram (Details)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/07a81661-b678-4a7b-9a59-160abe298fe4/IMG_6186.JPG</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>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 )</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/8f5ae44a-5497-4265-9cad-45ec8954f4b5/Untitled-1.jpg</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>Title: Ghahr &amp; 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.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/602070f36348a502c3dd1ac1/2ae3846d-7312-42be-82dc-d407b4236e94/Screen+Shot+2022-01-08+at+4.29.56+PM.png</image:loc>
      <image:title>Sculptural objects</image:title>
      <image:caption>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.</image:caption>
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      <image:title>Sculptural objects</image:title>
      <image:caption>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.</image:caption>
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    <loc>https://sepidehdashti.com/video</loc>
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    <lastmod>2025-11-22</lastmod>
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      <image:title>Video</image:title>
      <image:caption>Polyglot Migration is fueled by a sense of refuge at home, but coping with displacement and establishing a sense of belonging in your host society are two battles to win. As an immigrant woman, I create artworks to express my spatial displacement and diaspora. I articulate my body/self in performance art that intersects with the technology of camera. I regard video technology as a vehicle to enact myself with particularity within a contemporary social and political context. I use the corporeal grotesque as a bodily metaphor for the anatomical female body, and I see this grotesque body as a positive and powerful figuration of cultural feminism and womanhood that points to a state of being between hope and anxiety. Polyglot, represents my body fragmented and dispersed across the multiple channels of videos.1 I aim to impact the very structure of thought and relies on an intensive de-familiarization of our habits of thought. To represent my experience of crossing different physical and metaphorical borders, I use Persian (Farsi) idioms and proverb as a style to subvert the normativity of language. This creates the condition of simultaneous belonging and not-belonging The Video Text: I assured her we would prevail, even if it means growing plants out of our eyeballs. She remarked, "After 44 years of waiting, the grass is growing beneath my feet." After continuously telling them that we must leave, she now has "hair on her tongue." They consistently blame us and say, "Well, that's on us." "The worm is from the tree." (My experiments included opening my eye without blinking for 5 minutes, opening my mouth with my tongue out for 10 minutes, letting worms move on my belly for 30 minutes, and putting needles into my foot skin for 10 minutes. All performances were edited in a 10-minute video.)</image:caption>
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      <image:title>Video</image:title>
      <image:caption>My Vote, 2021</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Interweave , 2021</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Chew, 2021</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Untitled, 2021</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Untitled, 2021</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Naan, 2020</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Counterpoint, 2019</image:caption>
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      <image:caption>Zolf, 2020</image:caption>
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      <image:caption>Go with the Fllow</image:caption>
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      <image:caption>They Fancy my Unromantic Part, Video installation, 2019</image:caption>
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      <image:caption>Untitled, 2019</image:caption>
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      <image:caption>Blame, 2019</image:caption>
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      <image:caption>Generation,2019</image:caption>
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      <image:caption>Untitled, 2018</image:caption>
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      <image:title>Video</image:title>
      <image:caption>My Family Men, 2018</image:caption>
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      <image:caption>Made Up, 2018</image:caption>
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      <image:caption>Trap, 2017</image:caption>
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      <image:caption>East-Mid-West, Video, 2017</image:caption>
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      <image:caption>Trace, 2017</image:caption>
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      <image:caption>Dough, 2017</image:caption>
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      <image:caption>Aab-Dar_Havan , GIF, 2017</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Identity Crisis, 2017</image:caption>
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      <image:caption>Untitled, 2017</image:caption>
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      <image:caption>White Wednesday, 2017</image:caption>
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      <image:title>Video</image:title>
      <image:caption>Censorship, 2016</image:caption>
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  </url>
  <url>
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    <loc>https://sepidehdashti.com/exhibition-essay-documetation</loc>
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      <image:title>Recent Exhibitions (Essay &amp; Documetation)</image:title>
      <image:caption>To Be Me Sepideh Tajalizadeh Dashti Artlab Gallery Department of Visual Arts, Western University October 26 – November 12, 2020</image:caption>
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      <image:caption>Counterpoint Ruffin GalleryDepartment of Art, University of Virginia January 24 - February 24, 2022</image:caption>
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      <image:title>Recent Exhibitions (Essay &amp; Documetation)</image:title>
      <image:caption>“She-Self” to “She-Other” Essay by BOJANA VIDEKANIC Gallery Stratford March 5 – May 29, 2022</image:caption>
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      <image:caption>Justice seeking Mothers Kinetic Installation (Dc Motors, crochet on wire metals, human hair embroidery on wool fabric). 2024</image:caption>
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      <image:caption>Title: پرواز را بخاطر بسپار پرنده مردنی است , (Parvaz Ra Beh Khater Bespar, Parandeh Mordanist) Medium: Installation art (Sculpture &amp; video ) Materials: Plaster, human hair, industrial fan, metal wires 2024</image:caption>
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