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I am a visual artist, community facilitator, and educator of Iran ancestry. My practice uses community engagement, personal storytelling, and experimental research to discuss my refugee and migrant experiences in ‘Australia’. My inquiries examine intergenerational displacement, longings for place, cultural reclamation, and Iranian Indigenous knowledge systems. I’m interested in how settler migrants can safely reconnect with their identities through cultural re-coordination, community-building, and place-making in ‘Australia’.

 

I translate these themes using Iranian-heritage artisan crafts as they offer a tangible connection to cultural traditions and personal and collective narratives. My work integrates colour, patterns, iconography, and traditional principles, to create experiences bridging landscapes, the past, and present through material culture.

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Over the past four years, I have developed a large body of work centred around Khaghaz-e Abri, a 15th-century Iranian paper printing technique. Following intensive research, I expanded this process to create new patterns, textures, and colours, using silk and textiles as the primary medium—a technique I call Abri. The result is an expansive array of intricately textured desert landscapes that unearth and visually activate hidden family histories, memories, and stories. This work offers an accessible form of cultural expression, where I reimagine home, identity, and an Iranian sense of belonging from afar.

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More recently, my practice has become increasingly immersive, incorporating sensorial and embodied forms, including scent, light, organic materials, and spatial design. I am currently learning Ayeneh-Kari, an artisanal Iranian technique of mirror mosaic often used in sacred spaces, alongside studying the mystic and feminine within historic and contemporary Iranian spiritual and religious culture. 

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My recent body of work, My Soil Farsh فرش (Carpet), explores the healing potential of soil as a material symbol for cultural continuity, community-building, and acts of reciprocity by migrants on stolen lands. This work continues my broader investigation into how first- and second-generation migrants can sustain and hold – a culture within a culture, address loneliness and isolation whilst building transcultural identities and new concepts of home.

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Alongside exhibitions, my expanded practice involves community and knowledge-building projects.  I advocate for the significant social and emotional value of cultural crafts in protecting identity and well-being amongst displaced peoples in 'australia'.  I collaborate with the Asylum Seeker Resource Centre (ASRC) and World Craft Council-Australia. I participated in the ASRC Community Advocacy and Power Program (2022) and spoke at the RMIT School of Art (2023) on forced migration. In 2024, I developed a panel discussion on “Home and Belonging” for the Brisbane Multicultural Arts Centre’s Creative Confluence program and shared insights on the “Social Value of Craft” at the IOTA-2024 Futuring Craft Conference in Perth. I co-founded Magan-djin Creatives for Palestine in 2024, supporting projects like “The First Gathering,” which mobilised 200 local artists to raise awareness and financial support for refugees arriving in our community. 

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Advocacy and community engagement are integral to my practice, shaping both the direction and impact of my work. As a member of a displaced community, my involvement in supporting others like myself deeply informs my creative process. Likewise, the research and experimentation within my practice enhance my advocacy efforts. This cross-pollination allows me to develop more nuanced tools for advocacy, healing, and fostering cultural continuity as a migrant-settler.