Medium: Raw clay, etching on onion paper, resin, grapes, moving image, wooden shelf
The Perpetual Dream is an ambiguous definition of the word’s frequency, solidarity, trigger within the contemporary usage of language. In this project I have chosen to practice around collective thinking pertaining to Persian gardens. I tried to materialize the implications of chosen words (Frequency, Solidarity, Trigger) then I merged the idea of gardening my visual culture and gender issue that I always pursue in my practice. I found a clay close to my narrative. The work is the metaphor of both an artificial and living garden with a story of secret lovers.
“In the realm of Persian flowers, the rose predominates, and it seems natural that the Persian word gul should be both the word for rose and the general term for flower. The many varieties of roses have their own double names: gul-i-surkh for the red rose, and gul- i-zard for the yellow one. Nearly every individual includes “gul” in its name, for example, the gul-i-narges , or narcissus. The name of some flowers, such as the tulips, with or without “gul” —gul-laleh or laleh — while a garden full of tulips is called a lalehzar.” Persian Garden and Garden Pavilions, Donald N. Wilber
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
The w0rds run out
Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips
Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips
Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips Tu;ips
Tu;ips Tu;ips Tu;ips Tu;ips و من ترسیدم هیچ وقت به تو نررررسد
