ARTIST PORTFOLIO


PASSPORT NUMBER: PA7801186

Malta Biennale 2026 : EOI (Artist)

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Onespace Gallery

+617 3846 0642

info@onespace.com.au

www.onespace.com.au

25A Bouquet Street, South Brisbane, Queensland, 4101, Australia

@onespace_au

Artist Info

Prita Tina Yeganeh

+61 423902018

prita.yeganeh@gmail.com

www.pritatinayeganeh.com

43B, Chermside Street, Highgate Hill, Brisbane, Queensland, Australia, 4101


@pritatinayeganeh

Gallery Representation

  1. Curriculum Vitae

  1. Project 1: My Soil Farsh فرش, Iteration 2 (The Sacred Shared Labour)

  2. Project 2: My Soil Farsh فرش, Iteration 1 (Rituals of Gathering)

  3. Project 3: Mammanbozorg Dariya (Grandmother Sea)

  4. Project 4: The Sanctum of Qanāt

  5. Project 5: Gireh گره (The Sacred Knot)

Curriculum Vitae

SOLO EXHIBITIONS

2026 Upcoming - My Soil Farsh فرش : Iteration 3, Redlands Art Gallery, Redlands, QLD (1 February - 31 March)

2024My Soil Farsh فرش : Iteration 2 - The Sacred Shared Labour, Onespace Gallery, curated by John Stafford, Brisbane, QLD (22 Nov – 4 Dec)

2024My Soil Farsh فرش : Iteration 1 - Rituals of Gathering, First Draft Gallery, Sydney, NSW (30 August – 6 Oct)

2023The Making of Mohammadi, Northern Rivers Community Gallery, Ballina, NSW (28 June–20 Aug)

2022  In VISIBLE Colour, House Conspiracy ARI, Brisbane (25–27 March)
This exhibition followed a one-month residency and the presentation of Shadow Of Sand – Landscapes from my Homelands wearable art collection

GROUP SHOWS

2025 Upcoming - My Soil Farsh فرش - Iteration 2: The Sacred Shared Labour, 47th Walyalup | Fremantle Art Centre Print Award, Fremantle, WA (14 August - 21 September)

2025My Soil Farsh فرش - Iteration 2: The Sacred Shared Labour, Harvest Biennial, Iteration 1: Volatile Terrain, curated by Cara-Ann Simpson, The Condensery, Sommerset, QLD (15 February - 27 April)

2024My Soil Farsh فرش - Iteration 1: Rituals of Gathering, CHURCHIE Emerging Art Prize Finalist Exhibition, curated by Metro Arts, Brisbane (22 - 30 November)

2023 Expansion Point, Known Associates, curated by Michael Brennan, Noosa Regional Gallery, Noosa, QLD (13 October–26 November 2023), a collaborative artwork with Studio 26 (Petalia Humphreys, Jaime Kiss, Brady Cook, Jack MacRae and Alex Waker)

2023 Mammanbozorg Darya (Grandmother Sea), Wyndham Art Prize Exhibition, curated by Megan Evans and Olivia Poloni, City of Wyndham Art Gallery, Wyndham, VIC (17 August–22 October)

2023 Landscapes from the Homelands, Exploration 23, Annual unsigned artist exhibition, Flinders Lane Gallery, Melbourne, VIC (20 June–15 July)

2023 Landscapes from the Homelands, Women-Life-Freedom, curated by Nasrin Vaziri, Gold Coast Multicultural Arts, Robina Art Gallery, Gold Coast, QLD (1–25 March)

2022 Project Reflect, curated by Alice Rezends, Outer Space, Brisbane (25 November)

2022 Sanctum of Qanat, rightNOW 22, curated by Alicia Hollier, Onespace Gallery, Brisbane (3 November–3 December)

2022 Sandscapes, University of Queensland Society of Fine Art Group Show, curated by Ruby MacGregor, Brisbane (1 July)

CURATORIAL

2024 The First Gathering التجمع الأول , Magandjin Creatives for Palestine, Vacant Assembly, Brisbane (1 –3 March)

PRIZES, GRANTS, RECOGNITIONS

2025 Upcoming - Finalist, 47th Walyalup | Fremantle Art Centre Print Award, Fremantle

2024People’s Choice Award, CHURCHIE Emerging Art Prize, Metro Arts, Brisbane

2024Commendation Award, CHURCHIE Emerging Art Prize, Metro Arts, Brisbane

2023Honorable Mention, Wyndham Art Prize, City of Wyndham Art Gallery, Wyndham

2023July Laurel: Object of Cultural Significance in Australia, Sanctum Of Qanat, curated by Kevin Murray, Garland Magazine (1 July – 30 July)

2023Finalist, Exploration 23, Annual unsigned artist exhibition, Flinders Lane Gallery, Melbourne

2022$10,000 Lord Mayor’s Creative Fellowship, Brisbane City Council, Brisbane (1 May 2022 – 1 May 2023)

2022$250 Capacity, Awareness and Power Program (CAPP) Grant, Asylum Seeker Resource Centre (ASRC), Brisbane

PUBLICATIONS

2025 Upcoming - Studio26 Publications, 2023 Artist In Session and Curated Conversations, Issue 1

2025Inga Walton, Forecast: Prita Tina Yeganeh, Vault Magazine, Issue 49, Feb-April 2025, pg 142-144.

2024Gina Fairley, Exhibition review: Brian Robinson and Prita Tina Yeganeh, Onespace, Arts Hub, (4 December)

2024Lamisse Hamouda, “My Soil Farsh – Iteration 2: The Sacred Shared Labour”, Onespace Gallery Exhibition Essay, 23 November 2024.

2023Prita Tina Yeganeh, “Sanctum of Qanat”, July ‘Laurel’ – Object of Significance, Garland Magazine, 10 July 2023

2022Prita Tina Yeganeh, Shirin Mirshafiei, Kemesha Govender and Shivani Kanodia, “Language and Loss”, featured artist and curated conversation, Jabalna Zine, 4th Ed, 12 March 2022, pg15–36.

WORKSHOPS & APPEARANCES

2024 The Value of Craft Workshop – IOTA24 Future Craft Conference, Curtain University, Perth, WA (4 September)

2024 My Soil Farsh فرش (Carpet), Artist talk, First Draft, Sydney (31 August)

2024Panel Moderator – Home and Longing, BEMAC (Brisbane Multicultural Art Centre), Brisbane (19 July)

2023 UAP Studio Presentation, UAP (Urban Art Projects), Brisbane (1 February)

2023 Studio Presentation, Project 24 Residency, 2ND Space, facilitated by ArtsCoast, Nambour (1–30 October)

2023 Undertaking CAPP in the Arts, Guest Speaker, School of Art, Photography, RMIT University, Melbourne (26 September) 

2023Gireh, Studio Presentation, ‘Artist In Session’, Studio 26, Peregian (28 July)

2023 Making of Mohammadi, Artist Talk, Northern Rivers Community Gallery, Ballina (6 June)

2023 Women, Life, Freedom, Artist Talk, Gold Coast Multicultural Arts, Robina Art Gallery, Gold Coast (1 March)

2022 Sitting Spaces Workshop, Onespace Gallery, Brisbane (10 December)

2022 The Sanctum of Qanat, Artist Talk, Onespace Gallery, Brisbane (22 November)

2022 In VISIBLE Colour, Artist Talk, House Conspiracy, Brisbane (25 March

EDUCATION

2023 Public Art Commissioning Program, T Projects, Melbourne, VIC (3 April–21 June)

2022 Becoming A Leader in The Refugee Community – CAPP Training, Asylum Seeker Resource Centre, Brisbane, QLD (1 July–30 Dec)

2022 Cultural Protocols in Arts Practice Program, Cultures of Change Pty Ltd, Brisbane (May–December 2022)

2021 Cert 3 Applied Fashion and Design, Tafe Queensland, Brisbane

2017 Cert 3 in Land and Sea Management, Tafe Queensland, Darwin, NT

2010 Bachelor of Environmental Engineering (Double Major – Chemical and Civil Engineering), University of Queensland, Brisbane

LIFE LONG LEARNING

2023Exhibition Development Intensive, Flying Arts Alliance, Brisbane (9–10 September)

2022Working With Family Archives, Arab Arts Festival, A.MAL Arts + Research, England (28 June)

Project 1

My Soil Farsh فرش (Carpet): Iteration 2, The Sacred Shared Labour

EXHIBITED
2025 Fremantle Print Award, Fremantle Art Centre, Australia
2025 Volatile Terrain, Havest Biennial, Sumerset Regional Art Gallery, Australia
2024 Onspace Gallery, Brisbane, Australia

MEDIUM
45 kgs red loamy-clay soil (hand-ground and sieved through silk) and imprinted with 23 x 3D printed motifs​
23 motif prints on handmade paper using red loam-clay soil dye

SIZE
200 X 170 cm

My Soil Farsh is an ongoing and evolving project focused on repairing connectivity between humans and addressing the damage between humans and the earth. The Persian carpet is used symbolically, drawing on its cultural significance in my homeland of Iran as a successful and enduring tool for community building. Soil is employed both symbolically and materially, serving as a vessel for memory, storytelling, and acts of reciprocity.

Iteration 1,The Sacred Shared Labour

  • Phases: Two phases: a participatory material-making process, and an ephemeral soil-based storytelling sculpture and installation.

  • Inquiries: If labour is and continues to be used as a commodity, can shared-labour build community ? How does shared-labour and rituals interconnect? How is this experience felt through women’s shared-labour?

  • Experiment and Translation: 45kgs of red loamy clay soil were collected from a construction site near my home (Magandjin, Brisbane, Australia). Through a community call-out, 17 women (primarily from migrant and refugee backgrounds) participated in a grinding ritual and material-making process that spanned one month and 145 hours. Using stone pestles and plates, the soil was ground and sifted through silk into a fine powder. These embodied, rhythmic rituals transformed shared labor into ceremony, revealing unexpected intimacies and connections between the women—shifting strangers into a community of friends. The experiment was documented through Farsh storytelling—an ancient visual language woven into Persian carpets—translated into a lexicon of 23 3D-printed motifs. Over 20 hours, symbols were hand-imprinted into the soil using a symmetrical matrix of repeating patterns, mapping this experience as a story.

Installation View of Sculpture

Project Overview: Community Engagement, Material Making, Printing and Installation of Sculpture

Project 2

My Soil Farsh فرش (Carpet): Iteration 1, Rituals of Gathering)

EXHIBITED
2024 First Draft, Sydney, Australia
2024 CHURCHIE Emerging Art Prize, Metro Arts, Brisbane, Australia

MEDIUM
45 kgs red loamy soil (hand-ground and sieved through silk)​​

SIZE
260 X 360 cm

AWARD
2024 Commendation Prize, CHURCHIE Emerging Art Prize
2024 Peoples Choice Award, CHURCHIE Emerging Art Prize

My Soil Farsh is an ongoing and evolving project focused on repairing connectivity between humans and addressing the damage between humans and the earth. The Persian carpet is used symbolically, drawing on its cultural significance in my homeland of Iran as a successful and enduring tool for community building. Soil is employed both symbolically and materially, serving as a vessel for memory, storytelling, and acts of reciprocity.

Iteration 1: Rituals of Gathering

  • Phases: Three phases: a year-long research and experimentation process, a material-making process, and an ephemeral soil-based storytelling sculpture and installation.

  • Inquiries: How can loneliness and isolation in the diaspora be healed while living in cultures framed by individualism? What cultural tools can I activate from afar to support building community and togetherness in my new home? How can migrants and refugees safely engage in culture from afar while standing on stolen lands (lands impacted by genocide and colonisation)?

  • Experiments: Through a year-long research and community engagement experiment, I activated my own Persian carpet as a tool in a ritual-of-gathering. I invited women to sit, eat, talk, and connect. I observed the carpet as a vessel for collective placemaking, where new intimacies and memories of connection could be built—where many strangers became close friends.

  • Translation: Using 55 kgs of red-loamy-clay soil collected from a construction site near my home (Magandjin, Brisbane, Australia), undertook a grinding ritual and material-making process that spanned two months and 175 hours, using my grandmother's stone pestle and plate, the soil was ground and sifted through silk into a fine powder. The community-building experiment was documented through Farsh storytelling—an ancient visual language woven into Persian carpets—translated into a lexicon of 30 3D-printed motifs. Over 27 hours, symbols were hand-imprinted into the soil using a symmetrical matrix of repeating patterns, mapping this experience as a story.

Installation View of Sculpture

Community Engagement, Material Making, Printing & Installation of Sculpture

Project 3

Mammanbozorg Darya (Grandmother Sea)

EXHIBITED
2023 Wyndham Art Gallery, Wyndham, Australia

MEDIUM
Traditional Abrī water printing, multi-printed on salvaged Iranian satin

SIZE
300 x 65 cm

AWARD
Highly Commended, Wyndham Art Prize 2023

Mammanbozorg Darya (Grandmother Sea) assembles scattered family narratives of my grandmother’s life along the Caspian Sea. Through intricate and sinuous micro-lattice patterns, important memories are interwoven through multiple prints, creating a singular landscape and sense of place that connects me to her.

Inquiries:

  • How can printmaking and time be used as storytelling tools?

  • How can water and textile be engaged as a collaborator in the narrative?

  • How can traditional Iranian Abri mono-printing patternation be expanded into multi-print patternation?

  • How can memories pass through generations in the diaspora?

  • How do diasporic communities use storytelling to connect to landscapes from their homelands?

Project 4

The Sanctum of Qanāt

‘My ancestors’ knowledge of hidden waters binds my spirit to the desert. To honour my ancestors, I first honour the Sanctum of Qanāt.’

This work explores Qanāt, an ancient living process for collecting and transporting underground hidden water, across the arid deserts of the Iranian plateau. Through Qanāt, my ancestors weaved themselves into the nature of the deserts using their intimate knowledge of landscape, geology and territory. I interpret Qanāt as more than an ancient living process. It offers me the history and origins of my own distant culture and reveals an Iranian identity deeply rooted in ancestral connections to land and place. The Sanctum of Qanāt explores the idea of Qanāt through textiles—my way of re-connecting to my displaced Iranian identity.

Inquiries:

  • How is Iranian idenity bound to the desert?

  • How can printmaking and time be used as storytelling tools?

  • How can water and textile be engaged as a collaborator in the narrative?

  • How can traditional Iranian Abri mono-printing patternation be expanded into multi-print patternation?

Public Program: A womens sitting circle with my mother to discuss Idenity, Longing, Ancestry and Memory

The Sanctum of Qanāt

EXHIBITED
2023 Onspace Gallery, Brisbane, Australia

MEDIUM
3 x
Abrī multi-prints on sliks, 20kg bag of sand

SIZE
various

Project 5

Gireh گره

In 2023, I undertook a six-month residency with Studio26 (ArtsCoast) on the Sunshine Coast, Australia.

Residency Research :

  • Āyeneh-Kāri (traditional Iranian mirror-cutting craft), Iranian architecture, and principles of mysticism

  • Sacred geometry and hidden visual language of forms in Persian Sufism, specifically focusing on the infinity of forms that begins with Gireh گره — the Sacred Knot.

Rsidency Outcomes:

  • A site responsive installation - Gireh گره - symbolizes the connection between two planes of reality: the spiritual (or metaphysical) and the physical. Represented as connection through the interplay of light, shadow, and the shifting geometric patterns in this experiment

Public Program: An artist talk and community activation, where the public interacted with the sculpture using any source of light.

Gireh گره

EXHIBITED
2023 Studio26 Residency Exhibition, Sunshine Coast, Australia

MEDIUM
Āyeneh-kāri (mirror glass) mosaics on painted wood

SIZE
100 X 100 cm