In her reflections and the creation of her sculptures, Maryam Koohestani constantly seeks a dynamic, profound, and mobile structure, and in this series as well, she has been able to link the relations between ideas and practical capacities in her work with an approach of interactive art. However, her excessive interest and dependence on the “body” and figurative perspective exhibits a meaningful and even abstract narrative which can build a profound aesthetic connection to the artist’s reflections in this series of works.
In this series, Koohestani emphasizes one’s relations with oneself and others and the absence of the notion of relations in a space replete with suspension. This time around, the components of her sculptures can be manipulated by the audience and, in different arrangements, each work gains a new semantic function. It is through this same feature that, by moving beyond the concepts of “identity” and “gender”, she makes clear reference to an unknown but profound place in the audience’s subconscious; this is a shared experience in the field of form and movement which is reminiscent of the characteristics of today’s modernist sculpting, despite the fact that it clearly bears no time or space.///
The excessive clarity of the artist’s subjects and mental maneuvers puts emphasis on content that has been present in her sculptures from the past, but this has never been as overt as in this series and her approach toward and interpretation of these imperfect “humans” is profound and dramatic in itself; what broadens Koohestani’s intended meaning and superstructure is the general discipline in form and content which is put on display not through critique and a formative perspective, but through sensory interaction based on a personal account of the artist’s relation with her body.