D’ici à Ici, Hans & Fritz contemporary, Barcelona, 2017 Baharestan Farsh, Galerie Anne Barrault, Paris, 2018

Paradeiolie, Salon international du dessin contemporain, Marseille, 2018

Baharestan carpet, 2017-18

Cardboard, Arabic gum, pigments, Invisible ink and garlands, 440 x 720 cm

The cardboard carpet is inspired by The Winter Carpet, also known as The Spring of Khosrow, which disappeared, and it is only known through descriptions. This carpet was in the palace Taghe Kasra in Ctesiphon, the capital of Persia under the Sassa- nian Empire. During the invasion of the Arabs, in 637, they took it and brought it to Umar’s Caliphate. The carpet was too big and heavy to be carried, so the Arabs cut it into several pieces and distributed it as a loot. The cardboard carpet is divides into four main areas, as in the traditional Chaharbarg design. The four themes represen- ted are the legend of Simourgh, the story of Shirin and Farhad at the time of the King Khosrow, Mohammad Mossadegh as a democratic politician and the current situa- tion of women.

Tere in Tehran, 2018

I landed in Tehran with my ‘Baharestan Carpet’ and suddenly l were at *Kooshk. l felt like a Greek scholar, a mathematician who discovered specific weight or density. There is a story behind his discovery. The kingdom of Siracuse had a jeweller who made a crown of pure gold. Later, when the king received his crown, he doubted the jeweller had used the pure gold. Perhaps it was mixed with gold. He asked Archime- des to solve the problem of whether the crown was made of pure gold or not. One day, when Archimedes went into the pool to take a bath, he found that some of the water poured out of the pool. He found there was a direct relationship between the volume of the displaced water and the weight of his body. He shouted I find it, l find it. This way he had discovered the rule of density.

Taarof, 1397

Tere Zelzeleh had found the most astonishing thing in every day lra- nian’s life: Taarof. I stamped 100 bills with my name and wishing a good year ahead: sale no mobarak! I walked and play it.

Kooshk residency, Open Studio, Tehran

Boteh Jegheh, 2015-16

Sérigraphie, lithographie, warm stamp

This is a very old form. It can be defined as the zoroastrian fire, or a cur- ved cypress, the humility, a leaf and a water drop. In the Sasanian Empi- re (226-651 A.D.), before the Arabs and Islam came to Persia, almonds were sacred, and royalty and important figures of the time used their shape on their clothing, writing their names inside the almond form. During the same period, on official and trade documents, Persians would ink the underside of their closed fist and stamp it on the paper, creating the shape of the boteh jegheh.

From Mashad to Mashad, 2015

20 Drawings (20,8x29,5 cm), several techniques

A transformation of the negative effects of an event –a plaine failure- into something positive. Written in Farsi on each one of the drawings is the following question ‘What do you think is the most important thing in life?’ and distributed to the passengers.

D’ici à Ici, Hans & Fritz contemporary, Barcelona, 2017

Paradeiolie, Salon international du dessin contemporain, Marseille, 2018