PROJECT LOGISTICS

My Soil Farsh

Malta Biennale 2026 : EOI (Artist)

PASSPORT NUMBER: PA7801186

Phone:

Email:

Website:

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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

My Soil Farsh - Stages and Logistics

Stage 1. Soil, Material Making and Community Engagement

  1. Soil Logistics

  2. Material Making & Community Engagement Logistics

  3. Carpet Mapping - A Cultural Storytelling Process

  4. Carpet Motifs - Early Explorations & Examples

Stage 2. Carpet Installation : Exhibition

  1. Logistics

  2. Mock up example at Gransmaster Palace (Valletta)

Stage 3. Carpet Installation : Planting

  1. Logistics

  2. Mock up example

PROJECT Stage 1

1.Soil

  • Materials: Volume of soil will depend on site of installation (approximatley 45-80 kgs)

  • The soil will be;

    • collected, ideally from a pre-existing site that is arid and impacted by development

    • ground and sieved into a fine powder using a stone prestle and morter slab

    • an ephemeral material.

2.Material Making & Community Engagement Logistics

  • Materials: Buckets, stone or metal pestle, stone tile or plate

  • Logistics:

    • A studio is required to house the 1 month grinding workshop, soil and tools

    • The studio will be open for 1 month and focused on female workshop participants

    • I will engage with Malta Biennial’s networks to share workshop with the public

3.Carpet Mapping - A Cultural Storytelling Process

  • Carpet Mapping is an ancient Persian visual storytelling process developed over thousands of years to both reveal and conceal knowledge.

    • I will develop and record a visual language lexicon, which will be created through an investigative process in Malta.

    • I will design the carpet using a mapping methodology, creating stories through a symmetrical matrix of repeating patterns.

    • Thirdly, the motifs will be 3D-printed in preparation for imprinting into the soil.

4.Carpet Motifs - Early Explorations & Examples

THEMES:

  • Malta’s history of tile designs and lacemaking patternation

    • Geometric patterns of traditional Maltese tiles, such as floral motifs, stars, Arabesque patterns, and mandalas, reflecting both Islamic roots and European aesthetic influences.

    • Floral designs from lacemaking patterns.

  • Patternation drawing on Malta’s migrant, refugee, and asylum-seeker heritage (Tunisia, Libya, Eritrea, Somalia, Bangladesh)

    • North African Influence (Tunisia, Libya):

      • Geometric and floral patterns, often drawn from Islamic art and Arabic calligraphy.

      • Berber motifs in traditional Libyan weaving feature zigzag patterns, diamonds, and abstract forms.

    • Horn of Africa (Eritrea, Somalia): Circular, spiral, and interlocking patterns.

    • South Asian Influence (Bangladesh): Intricate floral motifs, mandalas, and paisleys

      .

  • Colonial Histories and Identities

    • Knights of St. John: Heraldic symbols—like crosses and intricate geometric patterns.

    • British Colonial Influence: Symmetrical designs, floral motifs, and imperial symbols.

2.Mock up example : Gransmaster Palace (Valletta)

A mock-up of an existing carpet (Iteration 2, The Sacred Shared Labour) displayed in various locations at the Grandmaster’s Palace (Valletta) to support the visualisation of the installation on site.

The carpet serves many symbolic functions, one of which is as a welcome mat. The entry point and hallway into the palace provide an optimal location for the work, as it welcomes audiences into the Palace while also disrupting its history and position of power through its materiality, process, and inquiries. This location also minimizes the carpet being disrupted by the audience during the exhibition period, while allowing it to be viewed in its intricacies from all angles.

PROJECT Stage 2. Carpet Installation : Exhibition

1.Logistics

The soil

  • Needs to be transported from the studio to the exhibition site

  • The soil is laid onto a plastic mat taped to the floor or a very low-to-the-ground plinth. It does not touch the bare ground.

  • The work needs to be installed in an indoor location to avoid exposure to rain.

  • No significant lighting is required; natural light is sufficient.

  • The carpet can respond to site, the location will determine its size.

PROJECT Stage 3. Carpet Installation : Replanting Soil

1.Logistics

  • Materials: Native seeds from Malta

  • The soil;

    • Needs to be transported from the gallery to the allocated site for replanting 

    • Will be seeded with native plants endemic to Malta and replanted into the grount as a regenerative carpet

  • Location: to be discussed with the Malta Biennale curatorial team.

  • Public Program:

    • This is a public program and anyone is invited to participate

2.Example : Regerative Carpet

Examples of experiments currently undertaining with ground soil seeded and replanted