DXARTS Portfolio

As of Now

In this series, I have taken multiple depictions of trauma from mass media and given them each their own personal account on Instagram. I then upload and re-download the images thousands of times. Each cycle signifying a day that had passed since the image was captured.

By doing so, I inflicted suffering upon the digital documents, as it was slowly stripped of its data. In this new context, these images are allowed the physical property of decomposition which the viewer can witness in the account feed, demonstrating the ways in which the image suffers its very own trauma, as it is corrupted and broken down. This process makes clear their very physical properties as the decomposition becomes more exaggerated and pronounced.

Alan Kurdi As of Now, Social Media Account, Digital Appropriation, Dimensions Variable, 2020.

Eric Garner As of Now, Social Media Account, Digital Appropriation, Dimensions Variable, 2020.

Eric Garner As of Now, Social Media Account, Digital Appropriation, Dimensions Variable, 2020.

Untitled As of Now, Social Media Account, Digital Appropriation, Dimensions Variable, 2020.

Falling Man As of Now, Social Media Account, Digital Appropriation, Dimensions Variable, 2020.

As of April 29, Documentation of a Performance Using Images From As of Now Series, 3 min 53 sec, 2019.

Landscapes

This work is an exploration of images of trauma. I have removed the dead bodies from the photographs, taken from news sources, of prominent contemporary worldwide conflicts. These photographs become more palatable and less disturbing, they become empty. The result is sometimes a vacant room or a barren landscape- void of the human figure.

Afghan Landscape, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 40″, 2019.

Iraqi Landscape, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 40″, 2019.

Yamani Landscape, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 40″, 2020.

Libyan Landscape, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 40″, 2019.

Syrian Landscape, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 75″, 2019.

Turkish Landscape, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 40″, 2020.

Iraqi Landscape II, Digitally Manipulated Photograph, Inkjet Print on Archival Paper, 30″ x 40″, 2019.

Stone Garden

In 1963, the “Land Reforms” enacted by Iran’s Shah regime redefined ancient property lines in a wave of militant social restructuring. Furious, a farmer named Darvish Khan Esfandiyarpour sought to retain his land but born mute and hard-of-hearing he needed to protest in a non-verbal manner. He stopped watering and taking care of his soil, creating a garden of dead trees, which he adorned, using thick wires, chains, and ropes, with stone fruit of various sizes. This Stone Garden, as he termed it, became completely undesirable to the Shah and the farmer’s land was never seized by the regime.

By collecting pieces of dead trees and stones, I recreate this stone garden as an exploration of the power of creative resistance. My silent argument against the atrocities and the policies carried out by the agencies and centers of power and money.

Stone Garden (detail), Twine, Found Rocks and Tree Branches, Screws, Installation Dimensions Variable, 2020.

Stone Garden (detail), Twine, Found Rocks and Tree Branches, Screws, Installation Dimensions Variable, 2020.

Stone Garden (detail), Twine, Found Rocks and Tree Branches, Screws, Installation Dimensions Variable, 2020.

Stone Garden (detail), Twine, Found Rocks and Tree Branches, Screws, Installation Dimensions Variable, 2020.

Stone Garden (detail), Twine, Found Rocks and Tree Branches, Screws, Installation Dimensions Variable, 2020.

Beloved Parviz

Parviz Yahaghi was a beloved Iranian composer and violinist. He died in his house, in isolation, in 2007. It took two weeks for his body to be discovered. During that time, his loved ones left messages on his phone. The audio in this piece are those messages. The video is taken from a ride around Naqsh-e Jahan Square, an iconic Iranian historical landmark, a place where Parviz found inspiration.

Beloved Parviz, Single Channel Video of Naqsh-e Jahan Square, Answering Machine Messages from the Home Phone of Parviz Yahaghi, 6 min 10 sec, 2016.