kiana boroumand javid
In my long-spanning practice in visual arts and poetry, I have explored (self-)censorship and the very fact of desire that could be suppressed by surveillance. How the bio powers are constantly watched and trapped in passivity. My figurative art involves polyphony to create a space opposing the prominent voice. A disruption in perfection is what I pursue in both my technique and the beneath concept as a means of this opposition too. My work is a combination of research and practice being inspired by scholars such as Foucault and Gilles Deleuze. I examine different materials and media ranging from conventional ones to the words of my poetry and my body. I have gone beyond drawing and painting extending it to experimental installation art,letterism, using my poems as the drawing lines and performance. Also, I have experimented with various techniques such as printmaking and even old master technique.
Swan Platform explores a social dilemma which is passive spectatorship and its correlation with surveillance by which the human body is being exploited. I am inspired by scholars such as Foucault and Gilles Deleuze in my figurative art, thinking of a body beyond the biological body with its political and social implications. I am motivated by Voyeurism in visual culture and spectatorship joy in public executions or catastrophes such as the Plasco building in Iran which played a critical role in the initiation of this series. This series is a research-based one studying Visual culture and art history and in its practice phase hovers around painting, drawing printmaking, and installation. I explore how passivity and the joy of being a spectator empower power relation and surveillance and how it evolves as a sublime matter. Also, it is a kind of comparative mythology based on Iran and Greek myths such as Icarus, Leda&swan, and Keykavoos in a contemporary context.