"Image is a disturbance in the pattern" is the installation I worked on it during my residency at Banff centre for arts and creativity in May 2017.

As an immigrant most part of my social life is through Skype, Facebook, Telegram, Instagram, and etc., keeping in touch with my family and friends, getting news about Iran; their low-quality images are shareable and accessible through such distance. We both have poor images of each other. It is a strange moment when I am at home, sat behind my desk, looking at a poor image from a distant place. Part of my work is intentionally based on poor images, caused by cropping news footages over and over, those that compile different forms of languages to translate information; like vocal language, scrolling text, and sign language. Having all these forms of languages at the same time makes also noise and distraction in translation.

I also fold my map-like-drawings of diagrams and cross sections, those help us to see inside of systems and how they work. In folding them I let borders and binaries of transparency and opacity break through my deformed translucent acetate sheets. Folding would damage the material smoothness of the plastic sheet, but in the process of folding to reveal a palimpsestic layering, the material opens up to new visual effect. I break the narration of the image, I keep folding and disturbing it, bringing the image to an unreadable chaos. I disorient and orient it at the same time. The Act of cropping or re-framing the image changes its identity over and over. And now, through the breakage of such unified horizon, rather than identities, one could speak of processes of identifications, for no identity is either given or acquired once and for all. Identity is the product of an invariably uneven, unfinished process, of hazardous constructions. Identification is received from others and continues always to depend on them. In establishing the many circles of identity which are superimposed upon each other in this way, reinforcing or combating one another, material conditions naturally have their full impact, translating themselves into possibilities—and impossibilities—of communication.

The important part of my research is about transparency and opacity of images through politics following by history and social performativity; the adjusted pathways and social mesh works we need to pass through them according to our gender, nationality, ethnicity, social norms, and etc; among them I am interested in relations between truth and image, also ideas around identity and image, how it performs through time and space, institutions of image making, politics of representation, visibility of picture and invisibility of image.