Statement:

The exhibition presents seventeen works of her recent thoughts and practices at Gallery II, spanning from paintings, sculptures, installations to performances. Pirouzmand works with identity and its politics and narrates a cross-regional and trans-cultural poignancy.///

By exploring a vast array of work materials, she attunes to the subjectivity and objectivity of bodily rites, the relational aesthetics between performer and spectator, and the arising interactivities and changes. 

The title of Pirouzmand’s forthcoming performance comes from the two exhibition highlights under the same titles on my mother’s lap as it is a profound metaphor of the artist’s personal history and irrevocable emotional baggage.

The ceramic piece, among all the on my mother’s lap, is a pile of sculptural legs that belongs to her female predecessors, forming an unstable set of steps — an immigrant analogy for searching the intricate balance between the personal and family pursuits, the perennial quest for sufficient identity and protection, and the active seeking of one’s place in history. 

The large-scale installation in the center of the gallery space is the negative derivation of a formed sculpture. The indistinct human outline suggests a story forgotten by time; for its whispering, reminds us about those fading memories, the disappearance and the oblivion in life.

Water slowly drips into the “reservoir”, the unspeakable tale tells, it is a recital of how time flies and how emotions are bottled up. The audience is no longer a spectator of the staging performance but a crucial part of this sentimental relay. Together we find a transitory balance in an outraged, chaotic and uneven world.

Paintings on the red clay panels are settled on the surrounding walls with their unique texture and textuality. Whereas, temporality is an intrinsic property of this very medium, the red clay.

Holes on the panels not only serve as a passage to the heart of the works but also exhaust the faces of figures, only the gestures and movements persist.

One may find this omnipresence of surrendering by posing in the Savasana (corpse pose) or in worshiping prayers, perhaps across all cultures and religions. Pirouzmand communicates in an intimate yet universal language, so may you find some peace on her mother’s lap.