Tagiran

Soudeh Davoud; “A Lively Spring Garden”

Soudeh Davoud, born in 1988 in Tehran, Iran, is a highly acclaimed contemporary artist known for her distinctive works seamlessly blending Eastern and Western influences. Her creative journey began at a remarkably young age when she turned to drawing and painting as a means of communication and personal solace. Davoud's artistic approach draws from impressionist strategies, mainly patchwork and broken-color techniques, which have consistently informed her style. In addition, she has incorporated elements of impasto to create visually striking and emotionally resonant artworks. What distinguishes Davoud's work is her ability to dispense with under-drawings, working directly with color to infuse her pieces with vibrancy and immediacy.

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Ali Sabouki

Ali Sabouki was born in 1985 in Shiraz, Iran. He lives and works in Tehran as an artist. Ali attended the Art and Architecture University in Tehran to study Scenic Design.

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Xamoosh

Xamoosh was born in 1989, Tehran. He is a self-taught artist who started graffiti by putting his signature on the walls of Tehran in 2007. With more than a decade of activity in the writing of Persian murals, he became one of the pioneers and influential in this area.

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Shahram Karimi

Shahram was born in 1957 Shiraz, and he is a painter and film production designer. He has extensive experience working within the film production department on a film crew for 15 years. He has worked from a very early conceptual process collaborating with Iranian artists and filmmakers; Shirin Neshat and Shoji Azari on many film projects. Their film "Women Without Men" won the 2009 Venice Film Festival, Silver Lion, for best directing. Shahram worked closely with director Richard Raymond on the movie "Desert Dancer".

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Interview with Bita Fayyazi

Rather than a sculptor, installation artist, or ceramicist engaged in a somewhat mystic relationship with her materials, Bita Fayyazi (b. 1962, Iran) is an artist who works within a more performative and markedly social practice. Beginning in the mid-1990s, her artistic interventions challenged the official definitions of art that were often circulated in Tehran at that time. Fayyazi struggled to show her work amidst an atmosphere of traditionalism, academics, and the influx of 1990s conceptual art from abroad.

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