NeveshtArt

Short Reviews

on Iranian

Contemporary Art

Exhibition Review

Mastouri

“Beauty is the wonder of the flowers’ evolution in order to seduce other creatures, use them to reproduce and multiply and then wither while secretly giving their seeds to earth, so as to sink into darkness once more and rise again into light from the depths of blackness.”

In the expanded interdisciplinary world of the artist, flowers are a process. The process of the flower and its components are both cut and edited in a parallel way, all throughout the exhibition. Seems as if she sometimes finds and reproduces the interrupted moments of the process in the heart of everyday life, and sometimes produces them herself in the heart of life, and by putting these pieces together, she presents an image and coordinates of the unstable and cyclical whole of this system. Her look at flower, is not to be used as a form or a pattern in the fashion industry or a subject for design. She studies, archives and creates parts of the flowers’ structure like a botanist. In the first part, it is as if we are under the lens of her microscope, between the pollens and reproductive stamens. Then we go to the upper floor, and we watch again through the microscope visor. In the room, we are behind the lens of her camera, in front of the moments of discovering fashion fragments among the clothes and gestures. After the previous surprise of facing the flowers, we come to her drawing studies of other creatures seduced in the cycle; happy monkeys full of eyes. Everything is archived piece by piece, and some choices are made out of them to produce volumes; heads and hats. In another part, we enter a seductive room with mirror pieces spread on the purple walls, known as fitting room, and get enchanted from the depth of blackness, by the reflection of our own images’ reflection, so the cycle of wonder and beauty starts again. In the last part, this entire cycle is reproduced, documented and recorded in an abandoned mansion with anthers and stigma, and an archive of it is displayed. The stillness and vacant space of this room is itself a reflection of that abandoned place. It is as if the spaces of the exhibition have also been chosen in a way to be sometimes reproductive, sometimes withered, and sometimes seductive.