This art installation is a personal artwork that explores the relationship between my cultural identity and personal expression. As an Iranian art student who came to Canada for art studies, I was initially urged to embrace Western art styles and leave behind my culture.

At the heart of this installation lies a canvas, transformed into a piece of Iranian calligraphy made from strings, precisely 1006 meters in length. This length is significant, it is the abjad numerical value of a line from a poem by Hafez: “ماست زندگانِی آب یار، منزل هواِی ,” which means “The air of the beloved’s abode is the water of our life.” or in other words, that seeking and wishing for friend’s home (my land and culture) is my reason of living. This verse speaks volumes about the importance of seeking and cherishing connections, much like the threads of my own heritage that weave through my life and work.

A chair is positioned in front of this canvas, marked by the telltale stains of artist’s labour. It symbolizes my presence, my decision to stay true to my origins in the face of conformist pressures. The chair’s relationship with the canvas, connected yet not bound by the strings, represents my voluntary attachment to my Iranian roots. It’s a reminder that while I am free to explore, my cultural heritage remains an integral part of my identity. Without this connection, symbolized by the chair’s proximity to the strings, the art would lose its unique essence, becoming just another chair in the studio detached from its story.