Soheila Sokhanvari
Conquest of the garden, 2016
Egg tempera on vellum
Painting Size:
20 x 15 cm
7 7/8 x 5 7/8 in
Framed Size:
40 x 30 cm
15 3/4 x 11 3/4 in
20 x 15 cm
7 7/8 x 5 7/8 in
Framed Size:
40 x 30 cm
15 3/4 x 11 3/4 in
Copyright The Artist
Conquest of the Garden 2016 The artist’s interest in the language of Magic Realism is evident in this painting to tell a story of feminist struggle. Here one can see...
Conquest of the Garden 2016
The artist’s interest in the language of Magic Realism is evident in this painting to tell a story of feminist struggle. Here one can see a woman sitting on a chair turning around to see the viewer, the flowerbed behind her has a number of fists growing out of the ground amongst flowers. Title is from a poem by the Iranian feminist poet Forough Farrokhzad (1935-1967). The poem first published in 1962, boldly proclaims the speaker's resolve to reject societal conventions and emphasizes the role of women within a restricted society and presents the thoughts and emotions of an Iranian woman who asserts her own selfhood, subjectivity, and agency.
The geometric pattern on the wall and the floor fixes her location in Middle East but also reflects the symbolic meaning of geometric pattern as the reflection of the vastness of the universe and the greatness of God. Yet, she is a modern woman sitting casually on a chair it could be a universal woman sitting anywhere in the world quietly rebelling against the shackles that hold her back.
The artist’s interest in the language of Magic Realism is evident in this painting to tell a story of feminist struggle. Here one can see a woman sitting on a chair turning around to see the viewer, the flowerbed behind her has a number of fists growing out of the ground amongst flowers. Title is from a poem by the Iranian feminist poet Forough Farrokhzad (1935-1967). The poem first published in 1962, boldly proclaims the speaker's resolve to reject societal conventions and emphasizes the role of women within a restricted society and presents the thoughts and emotions of an Iranian woman who asserts her own selfhood, subjectivity, and agency.
The geometric pattern on the wall and the floor fixes her location in Middle East but also reflects the symbolic meaning of geometric pattern as the reflection of the vastness of the universe and the greatness of God. Yet, she is a modern woman sitting casually on a chair it could be a universal woman sitting anywhere in the world quietly rebelling against the shackles that hold her back.