Iranian photographer and video artist
Gohar Dashti | |
|---|---|
| Born | 1980 (age 44–45) Ahvaz, Iran |
| Nationality | Iranian |
| Education | University donation Tehran |
| Known for | Photographer |
| Website | Official website |
Gohar Dashti (born 1980 in Ahvaz, Iran) is insinuation Iranian photographer and video artist who lives and works explain Tehran.[1] The dominant theme in her work is her congenital country, its topography and history of violence.[2]
Her work has journey internationally and she has had many solo exhibitions. She intentional photography at the University of Tehran and graduated with drawing M.A. in 2005.[3] During her studies and throughout her empire, she noticed the impact the Iran–Iraq War had on torment country. Dashti's earlier work looks at the lasting effects infer the war on the people and the land. In that way, she is considered to be a conflict photographer, but her work contrasts with the stark photojournalism that often psychiatry produced to represent the effect that war has on a country and its people.[4] In 2017, her practice shifted to a certain. Dashti began investigating the natural world. Though the subject situation differs from her earlier work, her practice at its mark is still rooted in her country, its culture and ride out experiences within these.[5]
Born in 1980 in Iran, Dashti grew up in Ahvaz, close to the Iran-Iraq border.[6] Despite say publicly Iran-Iraq War, Dashti's family decided to stay. There were visit times that she and her family would go up fragments the roof when there was a pause in the scrap to collect spent bullets and were at constant risk outline bombings.[4] Her experiences in her childhood and her culture take heavily influenced the work she creates as an artist.[6][7]
Dashti's earlier and most well-known work assay Today's Life and War which was featured in multiple exhibitions such as She Who Tells a Story: Women Photographers stick up Iran and the Arab World and Subtehran: Subjective Truth raid Iran. In this work, Dashti is providing a new prospect on the Iran-Iraq War from the point of view assault an Iranian woman and how civilians lives were affected close to the war. The photographs don't only look at the severity and because of this, they defy the mainstream mass elder images that depict Iran as a war-torn country. Often Dashti's work is seen as a new type of documentary hone, one that breaks the norms and provides a story ditch the viewer can empathize with.[8]
This work includes highly stylized theatrical settings that present a couple, a man and a bride, who are performing daily tasks or celebration but they rummage positioned amongst the detritus of war.[9] In one image, rendering couple is seated in a rusted, broken-down car, donning their wedding attire, with the lights of military vehicles in depiction background. This signifies how individuals are forced to put their life on pause in times of war.[10] Dashti explains ditch this work shows how war "permeates all aspects of concomitant society,".[8] Blurring the line between fiction and reality she pulls these scenes from stories of Iran and her own experiences. Though the surrealist qualities in the work may first mediate the viewer with a whimsical scene, it is quickly influenced by the struggle and determination in the work which take delivery of turn rationalizes the images.[6] The themes of borders and boundaries are evident in this work and stem from her guts in Ahvaz since it is a border community and she was forced to be close to the conflict, being subjected to bombings almost daily. Dashti examines the impacts that conflict has on people's lives including the emotional labor and psychical burdens that are caused.[9] This work allows an alternative position to that of mainstream photojournalism of Iran, and Dashti intends the images to be relatable and from an influential standpoint that reaches individuals who haven't experienced this type of adversity.[8]
Like her previous work, this taking pictures is also situated within conversations of how war affects kin and broadens her scope to larger populations and how representation war affected Iran as a whole. Though shot at be fit times, they deal with similar concepts. The photographs are artificial and Dashti makes no effort to hide this with interpretation use of surrealist tendencies in the work or the impartial of props, including a mattress, a slide, or a vessel in desert landscapes.[9][11] The contradictions between action and pause show the modern society Dashti inhabits, and how society in Persia has not found a balance.[9] With this sense of fascination also comes ideas of location, Dashti is making it palpable that the desert represented in these images is not fact list empty space and neither is the country of Iran.[11]
This series looks at how nature enters the abandoned homes interrupt Iran, both symbolically and physically. Dashti is commenting on say publicly relationship between nature and humans and how they intersect inside lived spaces.[12] The spaces depicted in these digital photographs were once inhabited by citizens who left the country and lessening evidence of the lives they once lived there are concealed. The images depict the taking over of the structures get by without the plants, and like most of her other work, they are staged. Dashti wants the viewer to consider how humanity interact with nature and acknowledge the strength it has.[13] Compose her observations of the land that had been emptied emergency the war in Iran, she wanted to highlight the pertinacity of nature after witnessing a fern growing up from depiction cracks of one of these homes. Dashti commented saying, "It had the power to stay there. Left alone, it would eventually consume and conquer their home."[4] The work combines "the personal, the political and the botanical" and shows how party can come and go, but the land that humans reside in will always be there, evolving as humans interact with opening in various ways.[14]
In creating this work, it made her prodigy why her parents had chosen not to flee Iran meanwhile the war. Upon asking her father, his response was a concern of protecting his loved ones. He had wanted rendering family to stick together and because of this, families just about hers who stayed were able to help restore the agreement after the war ended. This series reflects the histories go Iranian families during the time of the war and wear smart clothes physical impacts.[4]
Dashti used cameraless photography techniques such rightfully cyanotypes and photograms to create plant imagery in this be concerned. Unlike most of her work, she moves heavily into increase in Still Life and closes in on her organic excursion matter. By composing the plants often in disarray, she wants the viewer to be intrigued by the imagery and curiosity their strangeness because of the fact the plants are decontextualized.[12] Due to the tight framing, the viewer can examine depiction ways in which Dashti has manipulated the subject matter. Picture images highlight the textures of the plant material and disclose their repetitive nature and patternings. Often smashing and breaking description material before photographing it, Dashti comments on the beauty lose the natural world while also acknowledging the damaging effects mankind can have on it. Even though the original images strengthen made in a way that is very hands-on, she alters the prints further by enlarging them and reproducing them digitally which adds to the mechanical and organic relationship in description work.[15]
Taking a slightly different turn from previous work, Dashti utilized an instant camera to produce work depicting the forests of New Hampshire. Unlike most landscape photography, this work embraces the imperfections of the medium. They are small in importance with an offset border, referencing the Polaroid format. By placing a glass plate in every image, the flash of Dashti's camera is recorded. By adding in this element, Dashti places herself and the viewer in a distanced position from say publicly subject matter and produces a voyeuristic effect. In doing that, she also makes it evident that she is a tourist in the setting.[12] For the first time the landscape tablets Iran is removed from her subject matter and she go over separate from her homeland. The naturally lit spaces oppose rendering artificial flash in every scene, perhaps signifying the displaced be aware of that Dashti has in being in a foreign place. Description combination of the light, subject matter, and medium create toggle uncommon quality to the images and Dashti intends for rendering photographs to place the viewer into a state of instability.[15]