Laser cut acrylic panels about the legacy of women in my family and my relationship to places I have not been and cannot go.
My studio thesis explores my relationship with displacement and the role of women in shaping my family history. With roots in Iran and Yemen, these personal histories stem from places I’ve never been and cannot go because of the persecution of Baha’is, a minority religion in the region, across the Middle East.
This piece is something between a Persian carpet and a stained glass window— a meeting of East and West. The pattern of the rug was created by combining elements of rugs my parents have and those found online. It is a testament to my own relationship with my cultural heritage: a composite of memory and digital access. In the center, 5 flowers and 9 clear pieces are the only unaligned elements in the work. The flowers are a nod to the 5 generations of women acknowledged in the series and the 9 are a reference to the Baha’i Faith.
Tapestry, 2018, acrylic, 48 x 72in
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Installation with engraved translations.
With the trusty laser cutter in the engineering school’s maker space, which I spent many, many hour watching over.