Fariba Bolfar is an Iranian textile artist whose work attracts consideration to the preservation of Iran’s nice architectural heritage in an period of modernization and speedy technological change. She will maintain her first solo exhibition in Dubai, “In our Bones”, at Gallery Isabel, Alserkal Avenue.
Fariba Boroufar.
Bolfart makes use of textiles and textiles to create sculptural works that pay homage to the architectural heritage of his homeland. Reminiscent of Iranian wind towers, hexagons and different geometric patterns, her textile works are directly fascinating and fragile, just like the nation’s historic buildings in want of preservation.
In a current interview with Kayhan Life, Bolfar spoke about Iran’s wealthy textile historical past, the challenges of constructing artwork in her dwelling nation, and the tranquility that textiles brings.
Fariba, are you able to speak about your background in Iran and the way Iranian traditions have influenced your work as an artist?
My path to artwork started once I entered the Tehran School of Fine Arts and studied sculpture. After that, I studied graphic design and illustration at college, and began working professionally within the publishing trade whereas I used to be nonetheless there. For a few years, I labored as an artwork director at a newspaper firm and in addition taught at a college.
These roles have been removed from my private imaginative and prescient of artwork. About 11 years in the past, I made a decision to change from graphic design to textile artwork. Initially, fiber artwork was a pastime and an experimental pursuit. I began creating works by interweaving portraits of assorted folks. I used to be fully self-taught and used a wide range of supplies and strategies.
During a troublesome time once I was caring for my sick father, I created a bit titled “Dialysis.” This was a turning level and has continued to steer me to new types of textile artwork ever since.
Can you speak about Iranian artwork and tradition and the significance of textiles in your individual upbringing?
The Middle East is commonly thought of the birthplace of textile artwork, and being from the desert area of Iran, which has a wealthy textile custom, has a deep affect on my work. Throughout Iran, hand-woven textiles mirror the pure and cultural setting. For instance, in northern Iran baskets are woven from reed and different plant fibers, whereas within the south palm leaves are used to make mats and flooring. Because nomads are consistently on the transfer, they use moveable floor looms to weave black tents from dyed wool.
This wealthy heritage, handed down by generations, varieties the premise of my work. It is like an inheritance of handmade reminiscences that maintain us linked to our ancestors, corresponding to carpets, kilims, textiles, and prayer rugs present in outdated Iranian houses.
How did your curiosity in artwork start and what achievements and challenges have you ever confronted to this point?
My curiosity in artwork started with exploring the pure world round me. As a toddler, I used to be fascinated by the main points of shapes, the totally different colours of stones, and the construction and connections of crops. I spent hours utilizing a small dwelling microscope, excited to sketch and reproduce the intricate particulars of the leaves. This fascination led me to take portray courses on the Institute for Intellectual Development of Children and Youth, and ultimately to check sculpture.
Living in a conventional, conservative society typically faces hurdles. Pursuing artwork typically appears like a continuing battle together with your setting.
When I began working in fiber artwork, I used to be confronted with the problem that this medium was largely unknown to most of the people, and even to some elements of the artwork group. Iranians are deeply conversant in hand-woven masterpieces corresponding to kilims and carpets, however it’s troublesome to think about the visible or conceptual artistic endeavors that may be created by weaving.
This makes textile artwork tougher in comparison with extra acquainted varieties corresponding to portray and sculpture. Due to restricted exhibition alternatives, these works are not often seen. I’m thinking about exhibiting my work in architectural areas and historic buildings. However, discovering sponsors and buyers and navigating the complicated strategy of acquiring permits and coordinating such initiatives has been a serious hurdle.
What do you assume is the central theme that you just proceed to discover in your work?
The most important supply of inspiration for my present work is historical Iranian structure. For a few years, my private curiosity led me to journey extensively to historic cities and ruins all through Iran. I documented these locations with images and movies, constructing an archive that deepens our understanding of Iran’s architectural heritage.
Ancient Iranian architects designed buildings to go well with the wants and way of life of their customers. They made wonderful use of mathematical and geometrical data. Geometry was utilized all the way down to the smallest element, creating probably the most intricate and exquisite inventive designs. And they confirmed extraordinary ingenuity in adapting to harsh environments. They labored in harsh climates of utmost warmth, aridity, water shortage, and even seismic exercise to create livable areas, huge cities, and thriving human communities.
Unfortunately, this wealthy architectural heritage is at present at risk of disappearing. Intricate element, spectacular geometry, wealthy supplies, vibrant colours and patterns, and 1000’s of years of human expertise are all being misplaced. My work serves as a name to protect this endangered heritage. Through my work, I need to emphasize the worth of those conventional arts and their deep significance. We take inspiration from what already exists and personalize and reinterpret them by altering shapes, colours and strategies. My purpose is to assist viewers rediscover and respect the significance of those timeless traditions.
Blue Pillar, 2024. Wooden body with varied threads. Courtesy of the artist and Gallery Isabel, Dubai. Image credit score: Altamash Urooj
For instance, my work “Firouzeh – Turquoise” depicts conventional turquoise tile geometric patterns. These orderly blue tiles seem to crumble on the backside of the piece, passing from symmetry to chaos, symbolizing the gradual destruction and lack of these architectural components.
For one other piece, “Badgir – Windcatcher,” he drew inspiration from the wind towers of conventional homes in south-central Iran. These desert architectural wonders weren’t solely useful but in addition aesthetically beautiful, and as we speak they’re largely forgotten.
Can you clarify the title of your newest present “In Our Bones” at Gallery Isabel in Dubai and the way it pertains to the works on show?
The title “In Our Bones” has two meanings. The first is a homage to the custom of Iranian weavers. It celebrates the resilience of Iranian girls, who’ve preserved and inherited their weaving expertise by the ages, regardless of historic and social challenges.
The second layer displays the particular circumstances of the ten months main as much as the exhibition. This interval coincided with intense political and social turmoil within the nation the place I reside. Almost day-after-day, I encountered occasions that disrupted my life and induced deep uncertainty and anxiousness concerning the future. It was troublesome to handle these feelings whereas sustaining the psychological readability mandatory for artistic work.
Insecurity permeated each a part of my course of, from sourcing supplies to designing and weaving the items. Each work within the exhibition was created throughout this turbulent time, underneath vastly totally different emotional and environmental situations. Some of the items I created have been with nice enthusiasm, whereas others have been created at a time once I was unable to work in any respect and was in full despair.
It was additionally troublesome to acquire supplies. Supply disappears from the market inside days on account of hovering costs and import restrictions. I needed to discover ways to adapt and discover alternate options in order to not go away something incomplete. Towards the tip, the logistical challenges turned much more acute, with airport closures and flight cancellations threatening not solely the supply of the works but in addition my very own presence on the exhibition. In the tip, the exhibition was made potential by sheer willpower and the unimaginable help of Galerie Isabel.
Can you speak concerning the complexity of the weaving course of? How troublesome is that for you and the way did you get began utilizing this detailed medium?
Some viewers categorical considerations about sustaining textile artwork, however I remind them that textiles, like carpets from 100 years in the past, can final a very long time with correct care. The identical precept applies right here.
What goes by your thoughts if you weave a bit? Do you contemplate it a type of meditation or rest?
When I began working in fiber artwork 11 years in the past, I spotted how textiles may enhance focus and supply a relaxing expertise. The act of weaving has a singular tranquility created by the repetitive movement of tying knots, twisting fibers, and layering warp and weft threads one after the opposite. Often accompanied by silence, every layer slowly builds on prime of the subsequent. Even the method of organizing the threads and separating the fibers is nice.
Unlike portray, the place feelings are sometimes heightened, textiles decrease emotional depth. This course of requires a variety of endurance, as large-scale building initiatives can take a very long time to finish. The most rewarding second is when the piece is lastly faraway from the loom. This is the end result of effort and is just like start, marking the tip of a journey and the creation of one thing new.
Is there a specific paintings in your present that’s most essential to you?
Among the works on this exhibition, “Blue Pillar” is especially essential to me. It is a hopeful, enjoyable, vibrant, dream-like work expressed in shades of blue. It is a return to our previous, a nostalgic tribute to the greatness of our architectural heritage, and serves as a connection to our cultural roots. The set up of this work at Galerie Isabel additional enhances its impression, and the work is designed to be adaptable to totally different exhibition codecs, making its presentation much more versatile and dynamic.
“In our Bones” is on show at Gallery Isabel in Dubai till December 7, 2024.