True story
When her mother met his father, he was nineteen, she was twenty. After three months, the parents pregnant with her. It soon became clear that the relationship could not last. It took four years. So was the mother and child alone. The mother took the training. They shared a bed for several years due to lack of space. Until her mother met a man of foreign origin, he moved in with them. He did not like the child and had endel mental problems. He was violent towards the mother - and children. His mother tried for years to get away. His daughter left home at 16 years of age. She had experienced endel bullying in schools. She could not move to his father. He struggled even with the fabric and had two children with a bipolar woman. She moved to her grandmother who lived in the closest city to complete upper secondary. It was difficult to follow up the school. She fell in love. Great-grandmother suffered a stroke and was in a nursing home. She continued to live in the apartment and his girlfriend moved into. The relationship was broken and she was alone. She made short work through NAV. His parents lived in separate cities far away and had NOK with itself. They were resourceful, highly educated. She stopped getting up in the morning. As American TV series. Had accumulated debt. She bought things online and in stores. She had a regular doctor. Gradually she began to threaten the mother by phone to kill himself.
Rate Translation
Google Translator
Arbeidene i serien Portraits of a young woman, twenty three years of age at the time, viser avbildninger av en ung kvinne, delvis skjult bak hodeplagg og solbriller. Portrettene er tegnet med farveblyant på sort papir. Herretruser, som leses som hodeplagg, har ulike tekster som i sin naive og påståelige form bidrar til nok et nivå. Her finnes det referanser til en kunsthistorisk portrett tradisjon der hodeplagg var en viktig del av kontekstualiseringen av objektet. Kvinnen opptrer som tydelig og samtidig reservert, lukket inne i seg selv. Hun poserer, miner og posisjoner referer til et samtidig fysiognomisk språk fra media. Modellens distanse, og i enkelte verk, nesten sykdomslignende utslett, varsler om at noe ikke stemmer. Uttrykkene viser til subtile elementer av en form for selvskading, mulig et resultat av mistilpass, fremmedgjorthet.
Videoportrettet Putting her face on (loop, 28 min) berører samme problematikk som i tegningene. Verket viser en ung kvinne som benytter kameralinsen som speil der hun konsentrerer seg om å legge make up. Hun stirrer rett inn i kamera men ser allikevel forbi betrakteren da hun konsentrerer seg om en intim handling mellom det fiktive speilet og påføring av masken. Verket, som viser handlingen i sin helhet, gir betrakteren en opplevelse av å ta del i et rituale som ikke er ment for utenforstående. Transformasjonen som skjer fra det nakne, usminkede ansiktet til det ferdigsminkede fjeset er gradvis men påfallende.
"Orange is the shock absorber - the great restorer bringing your energy from shock or traumas back in balance" Sentralt i utstillingen er fargen orange. Fargen benyttes ofte som symbol i form av en orange sløyfe eller et armbånd for å trekke oppmerksomhet mot selvskading. I utstillingen males orange på vegger for å gi utstillingsarealet en annen intensitet.
Photos by Arash Nejad