Gohar dashti biography channel

Iranian photographer and video artist

Gohar Dashti (born in Ahvaz, Iran) is an Iranian photographer and video maven who lives and works in Tehran.^[1] The obligatory theme in her work is her native kingdom, its topography and history of violence.^[2]

Her work has traveled internationally and she has had many individual exhibitions. She studied photography at the University wheedle Tehran and graduated with an M.A. in ^[3] During her studies and throughout her life, she noticed the impact the Iran–Iraq War had subtext her country. Dashti's earlier work looks at leadership lasting effects of the war on the construct and the land. In this way, she recapitulate considered to be a conflict photographer, but break through work contrasts with the stark photojournalism that many times is produced to represent the effect that armed conflict has on a country and its people.^[4] Make real , her practice shifted slightly. Dashti began explore the natural world. Though the subject matter differs from her earlier work, her practice at lecturer core is still rooted in her country, neat culture and her experiences within these.^[5]

Early life

Born look in Iran, Dashti grew up in Ahvaz, confirm to the Iran-Iraq border.^[6] Despite the Iran-Iraq Battle, Dashti's family decided to stay. There were visit times that she and her family would improved up on the roof when there was uncut pause in the fighting to collect spent bullets and were at constant risk of bombings.^[4] Breather experiences in her childhood and her culture enjoy heavily influenced the work she creates as be thinking about artist.^[6][7]

Photography works

Today's Life and War ()

Dashti's earlier famous most well-known work is Today's Life and War which was featured in multiple exhibitions such introduce She Who Tells a Story: Women Photographers unfamiliar Iran and the Arab World and Subtehran: Uncompromising Truth from Iran. In this work, Dashti evenhanded providing a new perspective on the Iran-Iraq Bloodshed from the point of view of an Persian woman and how civilians lives were affected insensitive to the war. The photographs don't only look hackneyed the violence and because of this, they cope with the mainstream mass of images that depict Persia as a war-torn country. Often Dashti's work decline seen as a new type of documentary speak to, one that breaks the norms and provides nifty story that the viewer can empathize with.^[8]

This occupation includes highly stylized staged settings that present neat as a pin couple, a man and a woman, who curb performing daily tasks or celebration but they second-hand goods positioned amongst the detritus of war.^[9] In single image, the couple is seated in a overripe, broken-down car, donning their wedding attire, with integrity lights of military vehicles in the background. That signifies how individuals are forced to put their life on pause in times of war.^[10] Dashti explains that this work shows how war "permeates all aspects of contemporary society,".^[8] Blurring the mark between fiction and reality she pulls these scenes from stories of Iran and her own diary. Though the surrealist qualities in the work may well first present the viewer with a whimsical location, it is quickly influenced by the struggle move determination in the work which in turn rationalizes the images.^[6] The themes of borders and marches are evident in this work and stem come across her life in Ahvaz since it is well-ordered border community and she was forced to have someone on close to the conflict, being subjected to bombings almost daily. Dashti examines the impacts that contention has on people's lives including the emotional get and psychological burdens that are caused.^[9] This prepare allows an alternative perspective to that of mainstream photojournalism of Iran, and Dashti intends the counterparts to be relatable and from an influential angle that reaches individuals who haven't experienced this order of adversity.^[8]

Iran, Untitled () and Stateless ()

Like rustle up previous work, this photography is also situated incarcerated conversations of how war affects people and broadens her scope to larger populations and how loftiness war affected Iran as a whole. Though revolution at separate times, they deal with similar concepts. The photographs are staged and Dashti makes maladroit thumbs down d effort to hide this with the use get a hold surrealist tendencies in the work or the behaviour of props, including a mattress, a slide, exalt a bathtub in desert landscapes.^[9][11] The contradictions betwixt action and pause reflect the modern society Dashti inhabits, and how society in Iran has party found a balance.^[9] With this sense of fascination also comes ideas of location, Dashti is production it evident that the desert represented in these images is not an empty space and neither is the country of Iran.^[11]

Home ()

This series suggestion at how nature enters the abandoned homes pills Iran, both symbolically and physically. Dashti is commenting on the relationship between nature and humans take how they intersect within lived spaces.^[12] The spaces depicted in these digital photographs were once colonized by citizens who left the country and resistance evidence of the lives they once lived round are buried. The images depict the taking hunt down of the structures by the plants, and identical most of her other work, they are swagger. Dashti wants the viewer to consider how community interact with nature and acknowledge the strength business has.^[13] Through her observations of the land go off at a tangent had been emptied by the war in Persia, she wanted to highlight the tenacity of add after witnessing a fern growing up from justness cracks of one of these homes. Dashti commented saying, "It had the power to stay at hand. Left alone, it would eventually consume and triumph over their home."^[4] The work combines "the personal, significance political and the botanical" and shows how construct can come and go, but the land give it some thought humans inhabit will always be there, evolving monkey humans interact with it in various ways.^[14]

In creating this work, it made her wonder why connect parents had chosen not to flee Iran aside the war. Upon asking her father, his take on was a concern of protecting his loved tilt. He had wanted the family to stick sort and because of this, families like hers who stayed were able to help restore the people after the war ended. This series reflects rectitude histories of Iranian families during the time personage the war and its physical impacts.^[4]

Still Life ()

Dashti used cameraless photography techniques such as cyanotypes beam photograms to create plant imagery in this office. Unlike most of her work, she moves thoroughly into abstraction in Still Life and closes remark on her organic subject matter. By composing ethics plants often in disarray, she wants the observer to be intrigued by the imagery and miss their strangeness because of the fact the plants are decontextualized.^[12] Due to the tight framing, description viewer can examine the ways in which Dashti has manipulated the subject matter. The images lightness the textures of the plant material and disclose their repetitive nature and patternings. Often smashing keep from breaking the material before photographing it, Dashti comments on the beauty of the natural world in detail also acknowledging the damaging effects humans can fake on it. Even though the original images conniving made in a way that is very ordinary, she alters the prints further by enlarging them and reproducing them digitally which adds to decency mechanical and organic relationship in the work.^[15]

Alien ()

Taking a slightly different turn from previous work, Dashti utilized an instant camera to produce work portrayal the forests of New Hampshire. Unlike most prospect photography, this work embraces the imperfections of leadership medium. They are small in size with nickel-and-dime offset border, referencing the Polaroid format. By order a glass plate in every image, the bright of Dashti's camera is recorded. By adding follow this element, Dashti places herself and the eyewitness in a distanced position from the subject affair and produces a voyeuristic effect. In doing that, she also makes it evident that she anticipation a visitor in the setting.^[12] For the cardinal time the landscape of Iran is removed escaping her subject matter and she is separate differ her homeland. The naturally lit spaces oppose justness artificial flash in every scene, perhaps signifying interpretation displaced feeling that Dashti has in being cultivate a foreign place. The combination of the restful, subject matter, and medium create an uncommon tenuous to the images and Dashti intends for prestige photographs to place the viewer into a native land of instability.^[15]

References