Katayoun Amjadi

Muddy Truth

This Side | water | That Side, 2018
Durational installation, Porcelain Slip
approx. 1′-6″ x 28′-0″

The word ‘water’ is written in porcelain slip in Farsi and thus language and water (river) become border and barrier, eroded then erased through passage of time and transgressional crossings.

Sense of Nonsense, 2017
performance video stills – wood-ash, twine, sheaves of grass
approx. 20′ diameter

This work was a site-specific performance made in collaboration with Anna Van Voorhis at Center of the Periphery in Buch am Wald, Bavaria. The performance centered on themes of cyclical histories, female labor and erasure. Two are bodies bound to each other in a circle of ash. Two languages and two histories are written, then one is erased and and the other exposed.

Examination Wall | Rose-Needle, 2017

Examination Wall | Body-River, 2017

She Left to Pick up Flowers, 2017

 

 

Ophelia’s Dream, 2017

Statement​

I work primarily as an installation artist. In my work, I seek to draw on multiple cultural histories in ways that explore ideological limitations, and investigate broader global concerns including identity formation, diaspora, nationalism, history, memory, borders, safety, the comfort and unpredictability of home and world, and the poetics of creative expression; synthetic, hybrid, and vital. 

As artist and maker I believe in the latent power of objects to speak. They are embedded with the history of their origin, making and culture. They can carry multiple associations yet also personal and collective meanings as signifiers of a place, time or memory. They are fundamental to my research, indeed they are the structural syllables of the language of my practice.


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