Living in a mega city like Tehran, by itself is an impossible act, a city that swallows soil, water, nature and identities. Thus leaving the citizens confounded and under constant pressure. There are moments where there are no answers to be found, no solutions to the problems and no possible future. It is no longer a place to live in, it is more a crossroad, where very often survival becomes the only task. The city is physically threatened by sink holes and more and more of its citizens are sinking below poverty lines./// Breaking away from tradition, Fatemeh Bahman Siyahmard, continues on path of turning the two dimensional in to three. The curves in these new works, are part of the concept of the series: to live on edges, a difficult task if not impossible. Creating convex and concave canvases, is an attempt to collect and reflect data, much like mirrors of same shapes that are used to reflect light outward or inward, thus recreating virtual images that are a variation of reality. In the smaller works that are convex shaped, she sheds light on details of larger works. Her engagement with science are particularly influenced with outer space and is evident in the works. Artist is showing her fears and the sense of imbalance and confusion that is part of everyday life here; the impossible situation. She speaks of never being free to contemplate on what is important, there is never peace of mind to deliberate on anything of meaning as one is Always mindful of falling on either side of the edges. These self-possessed paintings are Artist’s attempt to leave her own comfort zone, to move towards the edge of what is possible. It is about taking risks and deriving pleasure from reaching one’s own limitations. And It is about non conformity and facing the challenges and overcoming them. By living on the edge, artist stays clear of mediocracy, there is not much in the Middle and she certainly does not belong to the Middle. Using her considerable skills as a painter, she offers her own answer to fear, ignorance, apathy and complacency. Nazila Noebashari