Art-led animation
60 x 80 cm
2026
I have uploaded a video, Broken Mirror, and two photographs from Tilt Your Head and A Subtle Turn / Colors Can See. Broken Mirror is a hand-drawn animation. Far from home, an Iranian girl is doing her makeup when war news breaks. She calls her family and no one answers. In the minutes that follow she imagines the worst, and her tears turn to blood until she is drowned in it. In Persian we say خون گریه کردن, to cry blood. We told a storywe know. Every frame is hand-drawn, one at a time. Yassaman, who illustrated the film, and I were both in London through the war, and the music was composed by my brother, who is in Iran and lived through it directly.
The photographs come from a daily practice sustained over eight years, in which I take Derrida’s deconstruction as a daily practice rather than a theory. Attention is trained and eye movement choreographed by institutions. I take that inherited order apart and assemble another one. The practice begins in not knowing: nothing is planned and nothing is depicted, and what starts as play becomes a way of knowing that does not pass through language. It is an epistemological inquiry into how we see, attend, and feel.
Art-led animation
60 x 80 cm
2026
I have uploaded a video, Broken Mirror, and two photographs from Tilt Your Head and A Subtle Turn / Colors Can See. Broken Mirror is a hand-drawn animation. Far from home, an Iranian girl is doing her makeup when war news breaks. She calls her family and no one answers. In the minutes that follow she imagines the worst, and her tears turn to blood until she is drowned in it. In Persian we say خون گریه کردن, to cry blood. We told a storywe know. Every frame is hand-drawn, one at a time. Yassaman, who illustrated the film, and I were both in London through the war, and the music was composed by my brother, who is in Iran and lived through it directly.
The photographs come from a daily practice sustained over eight years, in which I take Derrida’s deconstruction as a daily practice rather than a theory. Attention is trained and eye movement choreographed by institutions. I take that inherited order apart and assemble another one. The practice begins in not knowing: nothing is planned and nothing is depicted, and what starts as play becomes a way of knowing that does not pass through language. It is an epistemological inquiry into how we see, attend, and feel.