The image is
shaped within the existing architectural ornament, rather than placed onto the
surface.
A site-specific
intervention from the Surface as Memory series, developed within the ornamental
remains of a deteriorated architectural surface.
Public Mural Project – Tehran Municipality, Iran, March 2016
This work was
developed on a wall that still contained fragments of decorative architectural
elements.
Instead of
removing or covering them, I used these remnants as a framework for the
composition.
The figures are
placed within these existing forms, allowing the scene to take shape through
the structure already present on the wall.
The imagery draws
from Persian miniature painting, focusing on a collective gathering. The scene
introduces a sense of stillness, set against a surface that is visibly worn and
fragmented. What interested me here was the contrast between the clarity of the
figures and the condition of the wall—between what remains visible and what has
faded over time.
Rather than
separating image and surface, the work depends on their overlap. The
architectural ornament is not just a background, but part of how the scene is
formed and read.
