Chandeliers, those illuminative and decorative creations usually hung from ceilings, shine above our heads and provide us with light, playing the role of a miniature sun. Due to their ability to diffuse light that passes through their multi-faceted ornaments, crystal chandeliers have stronger brilliance and reflection, amplifying light to give it greater allure. In my childhood, I would join my father at "Saraye Delgosha", which was then called the "Chandelier Makers Complex". There, I became familiar with the components of this object of illumination and the process of its creation. Every time, I would bring home a handful of crystal ornaments and other accessories and begin making earrings and hairpins with them. By creating chandeliers, my father would bless light with beauty and allure, spreading it with every fixture he delivered; it was this same light that provided our home with luminescence. "Saraye Delgosha", a Qajar-era caravanserai located in Tehran's Ark Square, was registered as a National Heritage Site in 1978; however, after years of disputes and despite the opposition of my father and other shop owners there, it was ultimately torn down in 2010 and turned into another shopping arcade, under the same name. And this was how I bore witness to simultaneous incidents of destruction: the demolition of a historical site, the disintegration of a network of individuals creating light, and as a result, the extinguishment of our home's source of illumination, my father./// Mahboobeh Norouzi was born in 1977 in Tehran and has a Bachelor's degree in Painting from the Faculty of Art and Architecture of the Islamic Azad University in Tehran. This collection, entitled "If There's No Light ...", is her sixth solo exhibition and her second collaboration with INJA Gallery. This series includes 25 paintings of colored pencil on cardboard in different dimensions. She paints familiar subjects that have often become ordinary and forgotten, trying to explore their inner essence. The predominant technique she utilizes in her works is colored pencil, which, like her subjects, is a tangible and familiar tool. Her main concern is the passage of time, which she addresses in parallel with her other thoughts. Her method of representation with colored pencils, which requires greater patience and time, not only depicts this passage of time, but it also creates the need for the audience to redefine it.