Artist Profile

Nazanin Amiri Meers

Studio Resident (2018-2020)

Fiber, Installation, Mixed Media, Multimedia, Textiles
Statement of Work

I use art to explore my perceptions, emotions, and feelings. Through expression and exploration, I collectively process my inner states and observe the way my mind processes information. I advocate privacy and quietude as two critical and yet missing elements for humankind’s well-being and I explore various ways to bring contemplation and privacy to people’s lives and to my practice.
As an artist born and raised in Mashad, Iran, I aspire to keep my individuality and uniqueness while interrogating my own nature and cultivating the culture I grew up in. My work is characterized by an emphasis on patterns and visual analysis that is a legacy of my design background. My work covers diverse media—fiber and paper installation, multimedia collages, murals and drawings—and subjects as varied as the notion of privacy in architectural structures, distorted images of Middle Eastern cultures in Western media, and the decorative patterns of cultures influenced by Islam.
In my installations, I use soft and translucent paper and/or fiber to drape organically, pass light and air, and cast shadows as an invisible barrier or soft-edged fence. I divide my space along overlapping visible and invisible boundaries that flow from one form to another, making the whole place kinetic. Monumental paper/fabric pieces in my work with perforated surfaces, or translucent materials, convey an elusive image of the barrier which initially intends to protect space and make privacy, but it is nothing more than a fragile and barely visible plane. Translucent and ephemeral materials in my work are also meant to communicate impermanence and ephemerality in life.
Light is another prominent element in my work which both creates patterned shadows through the perforated suspended pieces and helps delineate a sacred area and convey ambiguity and nostology.
In my practice, I attempt to discover new possibilities of traditional art forms, especially those historically associated with women’s “craft” and undermined. By reimagining the unconventional medium for traditional art, I began to interrogate art forms and the history of their possibilities. Within newly emergent forms of fiber art, I attempt to articulate the ways norms of this form of art arise, from new materials and new technological modes of creating and interacting with reproducible images.

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