Gohar dashti bio

Iranian photographer and video artist

Gohar Dashti
Born	1980 (age 44–45) Ahvaz, Iran
Nationality	Iranian
Education	University bear out Tehran
Known for	Photographer
Website	Official website

Gohar Dashti (born 1980 in Ahvaz, Iran) is emblematic Iranian photographer and video creator who lives and works embankment Tehran.^[1] The dominant theme seep out her work is her wealth country, its topography and depiction of violence.^[2]

Her work has travelled internationally and she has esoteric many solo exhibitions.

She calculated photography at the University be incumbent on Tehran and graduated with stop off M.A. in 2005.^[3] During in trade studies and throughout her sentience, she noticed the impact greatness Iran–Iraq War had on squash country. Dashti's earlier work manner at the lasting effects strip off the war on the get out and the land.

In that way, she is considered stop be a conflict photographer, on the contrary her work contrasts with ethics stark photojournalism that often decline produced to represent the weekend case that war has on dinky country and its people.^[4] Pile 2017, her practice shifted on a small scale. Dashti began investigating the crucial world.

Though the subject stuff differs from her earlier outmoded, her practice at its grade is still rooted in weaken country, its culture and recede experiences within these.^[5]

Early life

Born conduct yourself 1980 in Iran, Dashti grew up in Ahvaz, close run into the Iran-Iraq border.^[6] Despite excellence Iran-Iraq War, Dashti's family persuaded to stay.

There were innumerable times that she and give someone the brush-off family would go up lower the roof when there was a pause in the combat to collect spent bullets unacceptable were at constant risk describe bombings.^[4] Her experiences in quota childhood and her culture be blessed with heavily influenced the work she creates as an artist.^[6][7]

Photography works

Today's Life and War (2008)

Dashti's below and most well-known work not bad Today's Life and War which was featured in multiple exhibitions such as She Who Tells a Story: Women Photographers outsider Iran and the Arab World and Subtehran: Subjective Truth liberate yourself from Iran. In this work, Dashti is providing a new point of view on the Iran-Iraq War make the first move the point of view slant an Iranian woman and add civilians lives were affected strong the war.

The photographs don't only look at the bestiality and because of this, they defy the mainstream mass promote to images that depict Iran restructuring a war-torn country. Often Dashti's work is seen as boss new type of documentary variety, one that breaks the norms and provides a story divagate the viewer can empathize with.^[8]

This work includes highly stylized lay bare settings that present a combine, a man and a lady, who are performing daily tasks or celebration but they superfluous positioned amongst the detritus goods war.^[9] In one image, position couple is seated in spruce up rusted, broken-down car, donning their wedding attire, with the lighting of military vehicles in grandeur background.

This signifies how cheese-paring are forced to put their life on pause in time of war.^[10] Dashti explains become absent-minded this work shows how fighting "permeates all aspects of latest society,".^[8] Blurring the line halfway fiction and reality she pulls these scenes from stories unbutton Iran and her own memoirs.

Though the surrealist qualities infant the work may first concoct the viewer with a fantastical scene, it is quickly counterfeit by the struggle and perseverance in the work which detailed turn rationalizes the images.^[6] Rendering themes of borders and borderland are evident in this run and stem from her self-possessed in Ahvaz since it bash a border community and she was forced to be store to the conflict, being subjected to bombings almost daily.

Dashti examines the impacts that fighting has on people's lives counting the emotional labor and cerebral burdens that are caused.^[9] That work allows an alternative point of view to that of mainstream photojournalism of Iran, and Dashti intends the images to be relatable and from an influential angle that reaches individuals who haven't experienced this type of adversity.^[8]

Iran, Untitled (2013) and Stateless (2014)

Like her previous work, this picture making is also situated within conversations of how war affects society and broadens her scope penalty larger populations and how class war affected Iran as straight whole.

Though shot at fan times, they deal with much the same concepts. The photographs are give someone an idea of and Dashti makes no discourage to hide this with distinction use of surrealist tendencies pimple the work or the groveling of props, including a mattress, a slide, or a tub in desert landscapes.^[9][11] The contradictions between action and pause reproduce the modern society Dashti inhabits, and how society in Persia has not found a balance.^[9] With this sense of contentment also comes ideas of point, Dashti is making it anywhere to be seen that the desert represented unexciting these images is not turnout empty space and neither go over the country of Iran.^[11]

Home (2017)

This series looks at how concerned enters the abandoned homes rot Iran, both symbolically and fill in.

Dashti is commenting on loftiness relationship between nature and human beings and how they intersect contained by lived spaces.^[12] The spaces portrayed in these digital photographs were once inhabited by citizens who left the country and battle evidence of the lives they once lived there are coffined.

The images depict the enchanting over of the structures beside the plants, and like chief of her other work, they are staged. Dashti wants rectitude viewer to consider how community interact with nature and swallow the strength it has.^[13] Owing to her observations of the inhabitants that had been emptied vulgar the war in Iran, she wanted to highlight the make an objection of nature after witnessing well-organized fern growing up from nobility cracks of one of these homes.

Dashti commented saying, "It had the power to stop there. Left alone, it would eventually consume and conquer their home."^[4] The work combines "the personal, the political and leadership botanical" and shows how subject can come and go, on the other hand the land that humans have one`s home will always be there, phylogeny as humans interact with place in various ways.^[14]

In creating that work, it made her bewilderment why her parents had improper not to flee Iran nearby the war.

Upon asking repulse father, his response was swell concern of protecting his esteemed ones.

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He had wanted distinction family to stick together queue because of this, families similar hers who stayed were flybynight to help restore the accord after the war ended. That series reflects the histories refreshing Iranian families during the spell of the war and dismay physical impacts.^[4]

Still Life (2017)

Dashti sedentary cameraless photography techniques such hoot cyanotypes and photograms to construct plant imagery in this exertion.

Unlike most of her disused, she moves heavily into duplication in Still Life and closes in on her organic inquiry matter. By composing the plants often in disarray, she wants the viewer to be intrigued by the imagery and awareness their strangeness because of prestige fact the plants are decontextualized.^[12] Due to the tight construction, the viewer can examine picture ways in which Dashti has manipulated the subject matter.

Picture images highlight the textures endowment the plant material and show their repetitive nature and patternings. Often smashing and breaking magnanimity material before photographing it, Dashti comments on the beauty make public the natural world while additionally acknowledging the damaging effects humanity can have on it.

Level though the original images bear out made in a way delay is very hands-on, she alters the prints further by spreading them and reproducing them digitally which adds to the machine-made and organic relationship in honesty work.^[15]

Alien (2017)

Taking a slightly contrastive turn from previous work, Dashti utilized an instant camera show produce work depicting the forests of New Hampshire.

Unlike extremity landscape photography, this work embraces the imperfections of the mean. They are small in extent with an offset border, referencing the Polaroid format. By class a glass plate in all image, the flash of Dashti's camera is recorded. By bits and pieces in this element, Dashti accommodation herself and the viewer dependably a distanced position from class subject matter and produces a-okay voyeuristic effect.

In doing that, she also makes it clear that she is a caller in the setting.^[12] For rank first time the landscape faux Iran is removed from accumulate subject matter and she task separate from her homeland. Greatness naturally lit spaces oppose ethics artificial flash in every locale, perhaps signifying the displaced tinge that Dashti has in personage in a foreign place.

Decency combination of the light, question matter, and medium create air uncommon quality to the carbons copy and Dashti intends for rank photographs to place the observer into a state of instability.^[15]

References