Pendant ces années, beaucoup de mes amies m’ont demandé étonnamment si j’allais mettre un foulard lors de mon arrivée en Iran. Chaque fois, je leur réponds en souriant : je le mettrais même avent que je descende de l’avion ; c’est-à-dire que je serais obligée de le mettre , alors que je suis toujours en avion.

Croyez-vous avoir le choix de le mettre ou pas, si un jour vous décidez d’y aller ? par contre , vous aussi , vous devriez le mettre !

Vous connaissez le sens exact du mot « contrainte » ?

Mais n’ayez  pas peur ! je vous conseille pourtant de voyage une fois en iran pour voir vie que se déroule derrière ce  rideau.

Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-001	Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-002	Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-003	Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-004	Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-005	Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-006
Photograph Series: Intérieur-Extérieur Maximum 3 copies printed (available: 3) Photograph code: ie-007

 

 

 

The photographs have not been manipulated in any way except for standard colour/contrast adjustments. No graphic or other filters whatsoever have been used. I have achieved the desired effects by playing with light and - as the name of the series implies - reflection.

The collection was displayed  in Tehran (Mah Gallery, 2004), Paris (Mairie du 4e - galeries François Miron et Rivoli, 2006), Valenciennes (Galerie des Wantiers, 2006), and Paris (Paris Photo 2007)

A Lille ou à Valenciennes, Lida a pris en photo les affiches de la campagne présidentielle. Ce sont les transformations subies par les affiches au gré des superpositions, mutilations et autres déchirures qui ont attiré son attention. Lida a alors passé plusieurs jours à parcourir la ville à la recherche de combinaisons originales et frappantes, en s’efforçant toujours de choisir le bon angle et le bon cadrage de façon à faire ressortir le conflit sous-jacent entre l’individuel et le social.

Il faut souligner que ni les affiches, ni les photos n’ont été modifiées ou manipulées. Vous découvrez les affiches telles qu’elles étaient sur les panneaux électoraux. En tant que telle, son oeuvre peut donc être interprétée comme la représentation fidèle des forces dynamiques en jeu dans cet aspect de la campagne, mises en lumière par le regard artistique de Lida.

My Present Project is a series of photographs of the French presidential campaign 2007 posters. Along with the campaign in the newspapers, on the radio and television, on political meetings and gatherings, there was this parallel campaign expression of the voters' feelings going on on the city walls that caught my eye.

Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_001	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_002	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_003	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_004	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_005	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_006
Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_007	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_008	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_009	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_010	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_011	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_012
Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_013	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_014	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_015	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_016	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_017	Photograph Series: élection murale Maximum 3 copies printed (available: 3) Photograph code: em_018

 

 

 

So, I decided to present the same forms in a different arrangement with a new meaning and that’s how “In the Cage” took shape.

The 500 forms are made of clay, were baked at 900°C and glazed, under reduction conditions, at 1000°C. Of these, some are placed in a hand-made metal cage with the rest scattered all around them in an area of approximately 10 square metres.

Until I saw some thorn bushes lying in a corner, and that started images rushing to my mind: thorns in the sand, a whole field of them...

Of these forms which range in colour from grey and cream to red, about 600 are glazed and the rest are not.

On approaching the area, a faint groan is heard.

The forms are 15-35 centimetres in length, baked at 900°C and glazed, under reduction conditions, at 1000°C.

They are in a variety of colours (mostly in the red range) whose transition indicates motion. They can be installed in isolation or in combination, indoors or outdoors.

“Fish” may be installed in a variety of settings, ideally in a pond resembling the traditional Iranian turquoise “howze”.

I initially did this for the Persian Garden Exhibition held in Tehran Museum of Contemporary Arts in 2004.

At first glance, they all seem to have the same uniform upward movement. However on closer examination these handmade forms reveal their individual uniqueness, each with its own curves, resembling the movement of wind through the trees with a hint of growth in the air.

Considering the ever-decreasing green space in our city, the work can be taken as a lament for the death of our trees and gardens.

Ideally, it is to be installed at the entrances or in the lobbies of public buildings, preferably in combination with water which is one of the fundamental elements of Iranian, or for that matter any, garden. The water could flow in a stream below or by the forms. However, one may forgo the use of water as the use of blue in this work itself symbolizes water.

This work may be installed in combination with “Fish”.

The forms are 3-10 in diameter and 10-45 in height, baked at 900°C and glazed, under reduction conditions, at 1000°C.

They range in colour from blue to green to red and can be installed in isolation or in combination, indoors or outdoors.