During a private gathering in Woodstock in July of 2018, I created a 30 x 40 painting invoking the presence of mother Kali under the full moon. Having set up a painting station for the whole weekend, guests participated in creating a collective painting with love and the communal energy.
During a weekend of Goddess Gathering in a farm in New Jersey, I started a painting and asked all the guests to join in the coloring and finishing the painting. It was a beautiful community based practice that all women and children partook in.
Fire (on) Time
Fire is a sight. An event.
A presence happening for what it seems like infinity,
-till it goes out.
Fire is a romantic notion.
An idea in time.
Where there is fire, it has no physicality.
It plays with your mind, with your eyes.
Its motion engraved in space.
And shortly it’s gone.
Just the ashes remain.
Fire (of) All
Fire is everywhere. Whether in sight or concealed. Seeked out through a big pile of shrubs,
in your pocket anticipating the moment of glory,
or sitting intact for the past centuries in the temples of the Zoroastrians.
Fire is of order, of chaos, and of human mark.
It is derived from nature, adapted for our comfort.
The warmth giver and the suffocator.
The smoky column of humanity.
Fire (as) Light
Fire draws eyes to its heart, but is absent in form.
And absent in material.
It’s like air, but with color.
Like light, but with motion.
Like water, but fiery.
Like lava, but airy.
Fire (in) Land
It burns for a good cause, but also for mayhem.
The big destructor, yet saves lives.
All about its context.
It takes over what environment furnishes.
It wears the skin of its prey.
What is being burned, fire takes over its shape.
And shortly disappears - right after.
Fire (at) Sight
Fire is a trademark for earth.
Solely runs by humans.
Mankind as the proud broker and keeper of those flames.
At any time, anywhere.
"Look upon the heavens and the earth. God made them not with dust and water.
Look upon the fire and behold therein how they were created."
Nikbanoo could hear the unified metallic army echoing through the flat desert. The silence of the desert was tangled with loud screaming and the horses’ running hooves. She could not believe her father’s glorious empire had fallen apart — so abruptly. Now all was gone except her, and their legacy. As the dust rose from her trembling footsteps, she began to see a grand summit amidst the khaki haze. Realizing the dead end she faced in the vast desert, the fear of capture overcame her entire body and resulted in shattering sobs. Nikbanoo cried out Ahura Mazda, asking for protection and asylum. In the nick of time, just then and just saving her, the mountain cracked open and gave her refuge from the conquering army. In the upcoming years, those passing by the deserted cliff are said to have seen the tip of her dress sticking out of the mountain, rippling in the hot, arid breeze. Ever since, there has been a holy spring emanating drop by drop from the heart of the mountain, tears of grief shed by its summit. A cave has been carved by pilgrims to bear the drops of water — its walls darkened by fire and incense.
In Land (installation view, excerpt: 1:38), 2016
Paint, Plexi Glass, Yarns, Video Projection
Running Time: 6 minutes on loop
In Land (installation view excerpt), 2016
To Proceed (excerpt: 1:17), 2016
Projected Video on Live Performance,
Running Time: Variable based on the gesture of the performer
Made in collaboration with Saman Tehrani
The duration of this performance is clued to the hand gesture of the performer and depending on that, the animated narration unfolds.
To Proceed (excerpt), 2016
Sacred Land Animations
Moment in Land
Window to Land
A performance done in the Four Freedom Memorial Park in Roosevelt Island, NYC, which includes the usage of iPhone predictive and auto suggested technology in creating text.