Happy, energetic and tireless; full of motivations which are a different representation of what she has inside. Jinoos Taghizadeh has tried so hard for what she has achieved and has certainly had a role in presenting the Iranian art after the reforms and the wide range of women. Studying graphics in high school, acting as a freelancer and graduated in sculpture from Fine Art University during the 90s, she has definitely left something of herself in the corridors of the University of Tehran.
The generation that was trying to create, and finally in the late 90s made a current that after twenty years is still paradigm maker and a model for next generations. Those lately-grown young fellows of the Conceptual Art exhibition in the Museum of Contemporary Art in 2002, each became everlasting in Iranian art and played an important role in the its future, though they never believed in it themselves and were not aware of that.
For Jinoos Taghizadeh with that aquarium containing a sculpture (Conceptual Art, 2002), to the one in her paintings, her “Rock, Paper, Scissors” at Araan Gallery, the parody of her stamps and embroidered sanitary napkins, until recently and her whales at O gallery, everything and every object has been a pretext for expressing her simple and complicated concepts and concerns.
That energetic and tireless character that one day works as a great artist and another day as an activist and writer, sensitive to all the small and big issues of these years, has created a position for herself in the context of Iranian art that is undeniable.
