Required Equipment: To read this thesis, a DVD player is needed, and an access to the internet is an advantage.
I have classified my thesis in three volumes.
Volume One: This volume consists of Map of My Metaphisical Journey, A Scholary Overview, an overall “Introduction” to my thesis and the details of “Methodology”.
Volume Two: This volume consists of a series of practice as research work. This includes texts and DVDs which are the end results of a process of a series of thoughts and experiences at the time of making. The texts in this volume, often, duplicate what is said on DVDs.
Volume Three: This volume, “Another Birth”, although not the final stage of my PhD project, is a finalized piece of work which demonstrates the heart of “Translating the Lines”.
This consists of a DVD and an art book of three sections; images and calligraphy, an intuitive analysis of the poem which has provoked the artistic aspect of this work, and a visual literature review.
Literature Review: At the present time, the “Literature Review” is integrated within the body of the work in Volumes Two and Three both, in form of texts and DVDs. It is, however, likely, that a part of the “Literature Review” would form an independent chapter in the future.
The DVDs: consist of expressive writing, photography, videography, performance, and in some cases commentaries and debates which are made on the bases of personal observations, life experiences and academic research.
Website and Weblogs: all relevant links are provided throughout the thesis, and my academic page; http://parvanehfarid-academicprojects.blogspot.com/ provides the reader with a comprehensive online source to this thesis and the relevant pages.
Sunday 16 May 2010
*Table of Contents to Volume One
The University of Winchester
March 2009
Volume One
“Translating the Lines”
V. 1. Chapter I
· Who is Parvaneh Farid?
· What is her project about?
· Why is she doing this project?
V. 1. Chapter II
V. 1. Chapter III
March 2009
Volume One
“Translating the Lines”
V. 1. Chapter I
· Who is Parvaneh Farid?
· What is her project about?
· Why is she doing this project?
V. 1. Chapter II
V. 1. Chapter III
Vol. 1. Ch. I: Introduction to the Thesis
Theme: "Translating the Lines" is a “Practice as Research” project of visual and performing arts which observes, debates and documents some aspects of the journey of my life and the process of my work over a number of years, which has begun before this thesis and will carry on after.
In doing this, I use more than one medium, and I try to identify the commonality of the visible and invisible lines which appear in my work, during the process of making. This will be dealt with more in my PhD work.
Format: The conventional academic style in presenting a thesis, which consists of texts and diagrams, has been adapted into a format which is intentionally designed and heavily relies on the use of IT and DVD making.
Sections: The introduction consists of three sections;
· Who is Parvaneh Farid? – p. 4,
....also click here
· What is her project about? – p. 7
· Why is she doing this project? – p. 10
Website: To get a more comprehensive understanding of the wide ranging nature of my artwork, please refer to my website; L'Atelier Papillon http://www.latelierpapillon.co.uk/ .
.
In doing this, I use more than one medium, and I try to identify the commonality of the visible and invisible lines which appear in my work, during the process of making. This will be dealt with more in my PhD work.
Format: The conventional academic style in presenting a thesis, which consists of texts and diagrams, has been adapted into a format which is intentionally designed and heavily relies on the use of IT and DVD making.
Sections: The introduction consists of three sections;
· Who is Parvaneh Farid? – p. 4,
....also click here
· What is her project about? – p. 7
· Why is she doing this project? – p. 10
Website: To get a more comprehensive understanding of the wide ranging nature of my artwork, please refer to my website; L'Atelier Papillon http://www.latelierpapillon.co.uk/ .
.
"-There is an alleyway in whichthose boys who were in love with me,
with the same untidy hair,thin necks and twig like legs…
- …are dreaming still, of the innocent smiles of a girl
In writing about myself, here, I use the term “She” instead of “I”. This is because I rather to stand outside of my own life and look at it objectively. Doing that helps me to be more sincere in my understanding and more able to describe the situations and my feelings which form the platform of my practice as research work.
Vol. 1, Ch. I: Who is Parvaneh Farid?
“I do not remember a time that I did not do artistic work,
I just didn’t know there was a name for what I was doing”
(Farid 2008)
“Parvaneh Farid has a distinctive presence expressed both through her movement and her voice in performance.
It reflects the depth of the experiences that she has encountered in her complex life story.
Her sound is rich, velvety and warm, merging a variety of styles and experiences within its particular timbre.
She always performs with passion and commitment
and her voice is an instrument well suited
for carrying these powerful emotions.”
(Boyce-Tillman 2007) http://en.wikipedia.org/wiki/June_Boyce-Tillman
Parvaneh Farid http://www.latelierpapillon.co.uk/About-Page.html is a multimedia artist, singer, dancer and performer, who produces art films (Farid 1995, 2003-08), music albums & audio book (Farid 1998-2006).
http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm
http://www.latelierpapillon.co.uk/audioalbumspage.html http://www.youtube.com/profile?user=ParvanehFarid&view=videos
This wide range of media has provided her with an interdisciplinary insight, confidence and ability to choose the most suitable medium that could be the best to express a given theme at any time.
Parvaneh left her mother country; at age of 17 to seek higher education, as she was deprived from that in her mother country as a member of the Bahá’í faith. http://pfarid.blogspot.com/
http://www.bahai.org/
http://search.bahai.org/main/?query=iran+students&x=9&y=8
Her asylum application was accepted by the British Government on ground of “Political and Religious Intolerance at her own Country”. She is now a British subject who has not visited her country since she left, and she is not intending to visit at the present time.
Related work: “I Mask, Therefore, I Am” http://www.youtube.com/watch?v=zi12O0gAe9s
“I may wish to go back home one day,
when my country would allow me to contribute to her
as a Bahá’í, as a woman and as a non confirmative individual that I am”
(Farid 2008)
Parvaneh initially managed to survive in the west, living and working as an au-pair, looking after children and elderly. She then trained as a general nurse at West Suffolk Hospital School of Nursing, and now she is an RGN (registered general nurse).
“A ladder has a modest height for my ascension”
(Farrokhzad 1989 & 92)
Parvaneh has studied Jo Estill’s singing methods http://en.wikipedia.org/wiki/Jo_Estill (Estill 1996) and vocal techniques for a period of over three years with Gillyanne Kayes http://www.vocalprocess.co.uk/who_are_we.htm (Kayes 2000). She also has been couched by Geraldine Hacked- Jones and Hilary Parfit.
Parvaneh has worked with a master of Persian traditional music, Dr Djalal Akhbari (Karimi 1978), (Davami 2000). She has also worked and performed with Persian composers whose styles are regarded as a bridge between eastern and western music; Mr Farrokh Moghaddam, Mr Farid Omran and Mr Iman Bashari.
She taught herself clay modelling, sculpting, painting and fashion design, prior to receiving her first honour degree in sculpture from Winchester School of Arts, and later, a master degree in graphic fine art from KIAD (Kent Institute of Art & Design), a post graduate certificate in women’s studies from Anglia University and a PGCE (Post Graduate Certificate in Education) from the University of Cambridge. Currently, she is doing a PhD in performing arts at the University of Winchester.
“Ever since I remember, I have been doing painting, drawing, http://www.latelierpapillon.co.uk/paintindrawingpage.html
Dressmaking, Sculpting http://www.latelierpapillon.co.uk/sculpturepage.html ,
Calligraphy http://www.latelierpapillon.co.uk/calligraphypage.html
Photography, http://www.latelierpapillon.co.uk/photographypage.html
Expressive writing, http://parvaneh-farid.blogspot.com/
Singing and dancing, http://parvaneh-farid.blogspot.com/ , http://www.latelierpapillon.co.uk/audioinformation.htm , http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm , http://www.latelierpapillon.co.uk/gallerypage.html
I used to make my parents anxious, they wanted me to become an architect,
but I was too abstract minded to be able to see
the artistic elements in something which has practical use”
(Farid 2008)
In doing calligraphy, Parvaneh has managed to create her own original Persian fonts and style, and her designed calligraphy work plays an important role in some of her work.
http://www.latelierpapillon.co.uk/calligraphypage.html
Parvaneh expresses herself in form of writings, both in English and Persian, and she uses this form of expression in her visual and performing arts. http://parvaneh-farid.blogspot.com/
In photography, Parvaneh has won a number of prizes; “Clyde Hopkins Awards for Valorous Art”, “Linda Granade Memorial Trust Prize” and “CPL Sculptural Photography Prize”. Parvaneh has used her photography and photomontage skills in her video making and installation work. She has also organised exhibitions of her work.
· Totton College, June 2003
· Southampton City Art Gallery, Feb-March 2007
· Turner Sims, University of Southampton, May 2008
· Art House, Southampton, July-September 2008
· The Link Gallery, the University of Winchester, Sept-October 2008
· There is a plan to exhibit this work at the Persian Library, in London in a near future.
http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm
http://www.latelierpapillon.co.uk/photographypage.html
Parvaneh’s Other Qualifications, Trainings and Skills include; Undergraduate Certificate in Music Composition, Eurythmy, Dance, Photography and Videography, IT visual art (Photoshop, Illustrator, Macromedia Dreamweaver, Premier Pro, Pinnacle), IT Audio Recording & Editing (Cubase SX) Calligraphy and Expressive Writing.
I just didn’t know there was a name for what I was doing”
(Farid 2008)
“Parvaneh Farid has a distinctive presence expressed both through her movement and her voice in performance.
It reflects the depth of the experiences that she has encountered in her complex life story.
Her sound is rich, velvety and warm, merging a variety of styles and experiences within its particular timbre.
She always performs with passion and commitment
and her voice is an instrument well suited
for carrying these powerful emotions.”
(Boyce-Tillman 2007) http://en.wikipedia.org/wiki/June_Boyce-Tillman
Parvaneh Farid http://www.latelierpapillon.co.uk/About-Page.html is a multimedia artist, singer, dancer and performer, who produces art films (Farid 1995, 2003-08), music albums & audio book (Farid 1998-2006).
http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm
http://www.latelierpapillon.co.uk/audioalbumspage.html http://www.youtube.com/profile?user=ParvanehFarid&view=videos
This wide range of media has provided her with an interdisciplinary insight, confidence and ability to choose the most suitable medium that could be the best to express a given theme at any time.
Parvaneh left her mother country; at age of 17 to seek higher education, as she was deprived from that in her mother country as a member of the Bahá’í faith. http://pfarid.blogspot.com/
http://www.bahai.org/
http://search.bahai.org/main/?query=iran+students&x=9&y=8
Her asylum application was accepted by the British Government on ground of “Political and Religious Intolerance at her own Country”. She is now a British subject who has not visited her country since she left, and she is not intending to visit at the present time.
Related work: “I Mask, Therefore, I Am” http://www.youtube.com/watch?v=zi12O0gAe9s
“I may wish to go back home one day,
when my country would allow me to contribute to her
as a Bahá’í, as a woman and as a non confirmative individual that I am”
(Farid 2008)
Parvaneh initially managed to survive in the west, living and working as an au-pair, looking after children and elderly. She then trained as a general nurse at West Suffolk Hospital School of Nursing, and now she is an RGN (registered general nurse).
“A ladder has a modest height for my ascension”
(Farrokhzad 1989 & 92)
Parvaneh has studied Jo Estill’s singing methods http://en.wikipedia.org/wiki/Jo_Estill (Estill 1996) and vocal techniques for a period of over three years with Gillyanne Kayes http://www.vocalprocess.co.uk/who_are_we.htm (Kayes 2000). She also has been couched by Geraldine Hacked- Jones and Hilary Parfit.
Parvaneh has worked with a master of Persian traditional music, Dr Djalal Akhbari (Karimi 1978), (Davami 2000). She has also worked and performed with Persian composers whose styles are regarded as a bridge between eastern and western music; Mr Farrokh Moghaddam, Mr Farid Omran and Mr Iman Bashari.
She taught herself clay modelling, sculpting, painting and fashion design, prior to receiving her first honour degree in sculpture from Winchester School of Arts, and later, a master degree in graphic fine art from KIAD (Kent Institute of Art & Design), a post graduate certificate in women’s studies from Anglia University and a PGCE (Post Graduate Certificate in Education) from the University of Cambridge. Currently, she is doing a PhD in performing arts at the University of Winchester.
“Ever since I remember, I have been doing painting, drawing, http://www.latelierpapillon.co.uk/paintindrawingpage.html
Dressmaking, Sculpting http://www.latelierpapillon.co.uk/sculpturepage.html ,
Calligraphy http://www.latelierpapillon.co.uk/calligraphypage.html
Photography, http://www.latelierpapillon.co.uk/photographypage.html
Expressive writing, http://parvaneh-farid.blogspot.com/
Singing and dancing, http://parvaneh-farid.blogspot.com/ , http://www.latelierpapillon.co.uk/audioinformation.htm , http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm , http://www.latelierpapillon.co.uk/gallerypage.html
I used to make my parents anxious, they wanted me to become an architect,
but I was too abstract minded to be able to see
the artistic elements in something which has practical use”
(Farid 2008)
In doing calligraphy, Parvaneh has managed to create her own original Persian fonts and style, and her designed calligraphy work plays an important role in some of her work.
http://www.latelierpapillon.co.uk/calligraphypage.html
Parvaneh expresses herself in form of writings, both in English and Persian, and she uses this form of expression in her visual and performing arts. http://parvaneh-farid.blogspot.com/
In photography, Parvaneh has won a number of prizes; “Clyde Hopkins Awards for Valorous Art”, “Linda Granade Memorial Trust Prize” and “CPL Sculptural Photography Prize”. Parvaneh has used her photography and photomontage skills in her video making and installation work. She has also organised exhibitions of her work.
· Totton College, June 2003
· Southampton City Art Gallery, Feb-March 2007
· Turner Sims, University of Southampton, May 2008
· Art House, Southampton, July-September 2008
· The Link Gallery, the University of Winchester, Sept-October 2008
· There is a plan to exhibit this work at the Persian Library, in London in a near future.
http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm
http://www.latelierpapillon.co.uk/photographypage.html
Parvaneh’s Other Qualifications, Trainings and Skills include; Undergraduate Certificate in Music Composition, Eurythmy, Dance, Photography and Videography, IT visual art (Photoshop, Illustrator, Macromedia Dreamweaver, Premier Pro, Pinnacle), IT Audio Recording & Editing (Cubase SX) Calligraphy and Expressive Writing.
Vol. 1, Ch. I: What is her project about?
“The art of Parvaneh Farid celebrates the unity of religion as expressed by Bahá’u’lláh, the all-embr-acing religion... This notion of the unity of religion finds expression
in the unifying elements of her work in both a formal
and spiritual sense.In a formal sense, creativity ignores boundaries.
Thus photography, music, dance, performance,
together with any material that can be usefully employed, are all used as one to make powerful art
not easily forgotten.The belief in the unity of religion grows,
of course, out of a belief in the unity of God
and extend in a notion of the unity of mankind
in all its diversity.The spiritual content in Parvaneh Farid’s work
is universal, yet it finds its home
and, in deed, ruthless suppression
in Parvaneh’s native Iran...Parvaneh Farid’s recent statements are an impassioned and articulate rebuke ... in the form of eloquent and original works of art."
(Grylls 1997)
Project Title: The title of Parvaneh’s Project for PhD is “Translating the Lines”, which is an ongoing artistic documentation and analysis of self observation within the context of some aspects of the journey of her life.
“…I congratulate you on having invented a very distinctive new form
for presenting your research in an exciting and stimulating way
that captures the nature of your thinking beautifully"(Boyce-Tillman 2008)
This project has two aspect or wings; the First Wing is the format of the Artistic Language which is employed as means of expression and the Second Wing is the Theme of the content of the project.
.
First Wing – using an Artistic Language: A stylish and metaphoric language is applied, in order to express the theme of the project. This method of expression pays attention to the interdisciplinary features of the organic nature, appearance, and the style of progression of the visible and invisible lines across the axis of time (dance and music) and space (dance and visual art) in Persian art media, such as calligraphy, painting, architecture, artefacts, music, dance and poetry.
Various conventional techniques will be explored and examined, as well as newly developed IT, to highlight the visible and invisible lines of various applied media which are used to express the theme of the project.
.
Second Wing - The Theme; “Licensed to Live”. This project is a “Practice as Research” (Trimingham 2000) attempt in rewriting oneself, using “Autoethnography” (Tieney 1977) as a strategy. In doing that the life experiences and experiments, “Genetic Epistemology” (Jean Piaget 1968), are understood and interpreted, "Interpretive Interactionism” (Denzin 1989), within the “Hegelian Dialectic” framework of “Thesis”, “Antithesis” and “Synthesis”, while the findings are heavily relying on epistemology of the “Subjugated Ways of Knowing” (Boyce-Tillman 2005) using “Qualitative Image-Based” (Prosser 1998) techniques. The stages of this journey towards its final mystical destination, however, are directed according to the roadmap which is laid out in “The Seven Valleys” (Bahá’u’lláh 1986).
This Project looks into the development of one’s “Physical”, “Cognitive” and “Spiritual” identity, as if it is approached via three parallel avenues throughout the journey of life, while looking at contributing factors to these developments and manifestations in the Persian culture particularly in the area of gender and identity.
The wayfarer is required to travel through all these three avenues of existence spontaneously, though not necessarily with a constant rate or the same degree of enthusiasm. One aspect of development does not end its progress before the next one begins, and these avenues do not always remain in parallel with each other, as many junctions and joint roads are on the way, which on one hand could cause collisions and on the other could augment the speed of the journey in one or all avenues.
The wayfarer could also perform several u-turns on her/his way and/or decide to remain stationary in one place for a while. S/he may even travel the same part of the same avenue several times over. At the end the pattern of her/his journey will forms her/his travel history or in other words her/his portfolio of life experiences, hence her/his authentic identity. That notion suggests as if the entire journey of one’s life is the intended destination, rather than the final valley.
On the basis of this argument, one could understand that a restricted pigeonhole system to study the “Physical”, “Cognitive” and “Spiritual” aspects of one’s identity is not a realistic approach, however, for the sake of practicality, a schema is needed; hence looking at these parallel aspects of developments as three separate entities at times. As result, different aspects of this project may develop in isolation, before they eventually come together to form the pattern of a single tapestry of one’s identity.
in the unifying elements of her work in both a formal
and spiritual sense.In a formal sense, creativity ignores boundaries.
Thus photography, music, dance, performance,
together with any material that can be usefully employed, are all used as one to make powerful art
not easily forgotten.The belief in the unity of religion grows,
of course, out of a belief in the unity of God
and extend in a notion of the unity of mankind
in all its diversity.The spiritual content in Parvaneh Farid’s work
is universal, yet it finds its home
and, in deed, ruthless suppression
in Parvaneh’s native Iran...Parvaneh Farid’s recent statements are an impassioned and articulate rebuke ... in the form of eloquent and original works of art."
(Grylls 1997)
Project Title: The title of Parvaneh’s Project for PhD is “Translating the Lines”, which is an ongoing artistic documentation and analysis of self observation within the context of some aspects of the journey of her life.
“…I congratulate you on having invented a very distinctive new form
for presenting your research in an exciting and stimulating way
that captures the nature of your thinking beautifully"(Boyce-Tillman 2008)
This project has two aspect or wings; the First Wing is the format of the Artistic Language which is employed as means of expression and the Second Wing is the Theme of the content of the project.
.
First Wing – using an Artistic Language: A stylish and metaphoric language is applied, in order to express the theme of the project. This method of expression pays attention to the interdisciplinary features of the organic nature, appearance, and the style of progression of the visible and invisible lines across the axis of time (dance and music) and space (dance and visual art) in Persian art media, such as calligraphy, painting, architecture, artefacts, music, dance and poetry.
Various conventional techniques will be explored and examined, as well as newly developed IT, to highlight the visible and invisible lines of various applied media which are used to express the theme of the project.
.
Second Wing - The Theme; “Licensed to Live”. This project is a “Practice as Research” (Trimingham 2000) attempt in rewriting oneself, using “Autoethnography” (Tieney 1977) as a strategy. In doing that the life experiences and experiments, “Genetic Epistemology” (Jean Piaget 1968), are understood and interpreted, "Interpretive Interactionism” (Denzin 1989), within the “Hegelian Dialectic” framework of “Thesis”, “Antithesis” and “Synthesis”, while the findings are heavily relying on epistemology of the “Subjugated Ways of Knowing” (Boyce-Tillman 2005) using “Qualitative Image-Based” (Prosser 1998) techniques. The stages of this journey towards its final mystical destination, however, are directed according to the roadmap which is laid out in “The Seven Valleys” (Bahá’u’lláh 1986).
This Project looks into the development of one’s “Physical”, “Cognitive” and “Spiritual” identity, as if it is approached via three parallel avenues throughout the journey of life, while looking at contributing factors to these developments and manifestations in the Persian culture particularly in the area of gender and identity.
The wayfarer is required to travel through all these three avenues of existence spontaneously, though not necessarily with a constant rate or the same degree of enthusiasm. One aspect of development does not end its progress before the next one begins, and these avenues do not always remain in parallel with each other, as many junctions and joint roads are on the way, which on one hand could cause collisions and on the other could augment the speed of the journey in one or all avenues.
The wayfarer could also perform several u-turns on her/his way and/or decide to remain stationary in one place for a while. S/he may even travel the same part of the same avenue several times over. At the end the pattern of her/his journey will forms her/his travel history or in other words her/his portfolio of life experiences, hence her/his authentic identity. That notion suggests as if the entire journey of one’s life is the intended destination, rather than the final valley.
On the basis of this argument, one could understand that a restricted pigeonhole system to study the “Physical”, “Cognitive” and “Spiritual” aspects of one’s identity is not a realistic approach, however, for the sake of practicality, a schema is needed; hence looking at these parallel aspects of developments as three separate entities at times. As result, different aspects of this project may develop in isolation, before they eventually come together to form the pattern of a single tapestry of one’s identity.
Vol. 1, Ch. I: Why is she doing this project?
“… having seen Parvaneh Photomontage art work
I wanted to comment on the degree of professionalism
that her work embodies.
I think that it is important to stress that aesthetics aside,
it is refreshing to see sublime work presented
as practice as research.
This is important, particularly as she is using
the presentation of 'harmony' in an Aristotelian way
to reveal her transcultural struggle underpinned
by her religious and philosophical belief.
Not to have this as an example of good practice from a different, as she put it 'illegitimate cultural' perspective, would be a great shame.”
(Taiwo 2008)
An Illegitimate Cultural Perspective: Parvaneh’s work demonstrates elements of her rich Persian heritage within the perspective of the western culture. Although as a Bahá’í she has been brought up with the notion of one world citizenship, but she finds herself struggling with having to be accepted by the measurements which is expected from her in the west, on one hand and those which are expected from her by the eastern artistic norms and the Islamic regime of Iran on the others.
“Although the event of my birth has provided me
with a natural Licence to Live, I do not seem to fit in to the cultural norms and I tend to resist to confirm with them.
My PhD. project is an attempt to recognise the person I am and to identify the reasons and factors
which have contributed to the way I am.
The outcomes of this process, would hopefully, provide me with a systematic and therapeutic agenda
which would help me to accept myself as I am
and indicate a progressive path into my future.”
(Farid 2008)
Parvaneh’s project seems to be building a bridge between two cultures, the east and the west, while continuing referencing to newly developed school of thought with a global vision; the Bahá’í faith. The story of her journey may benefit those who wish to study the life of a woman who was not accepted by her own culture neither was she by the culture of the country she took refuge to. The outcomes of this study may be especially interesting, because she is being interviewed, analysed and interpreted by herself, looking at her own body, mind and spirit within the contexts of these conflicting cultures.
Why the use of Internet Technology:
“A mechanism of world inter-communication
will be devised embracing the whole planet,
freed from national hinderances and restrictions,
and functioning with marvellous swiftness and perfect regularity.
(Rabbani 1978)
"I am now convinced, that the use of the website
is an appropriate format to deliver your project…”
(Boyce-Tillman 2008)
The other beneficiary aspect of Parvaneh’s project is her interest in the use of innovative artistic method of expression and the use of new technology which has not been experimented much within academic arena. The modern inter-global technology is here to stay and sooner or later its capabilities for being used as a format to submit academic thesis will be established.
Public Art: Parvaneh has also a great interest in sharing her findings with the general public and believes that the internet technology can facilitate her with the most effective means to share her work with the people across the globe. Hence she maintains a rather extended webside of her work; http://www.latelierpapillon.co.uk/ .
“The art within the walls of an exhibition is as alive as fish is inside a can.
I believe that the arts should be where people are,
and not in possession of a few privileged members of the society.
The real public art can only be found in the graffiti around the cities
and on the websites and weblogs of the unknown artists.
The graffiti and websites are free from the influence of the marked
and the censorship of kinds.
Hence, I use the internet technology
to communicate my art work to the people.”
(Farid 2008)
I wanted to comment on the degree of professionalism
that her work embodies.
I think that it is important to stress that aesthetics aside,
it is refreshing to see sublime work presented
as practice as research.
This is important, particularly as she is using
the presentation of 'harmony' in an Aristotelian way
to reveal her transcultural struggle underpinned
by her religious and philosophical belief.
Not to have this as an example of good practice from a different, as she put it 'illegitimate cultural' perspective, would be a great shame.”
(Taiwo 2008)
An Illegitimate Cultural Perspective: Parvaneh’s work demonstrates elements of her rich Persian heritage within the perspective of the western culture. Although as a Bahá’í she has been brought up with the notion of one world citizenship, but she finds herself struggling with having to be accepted by the measurements which is expected from her in the west, on one hand and those which are expected from her by the eastern artistic norms and the Islamic regime of Iran on the others.
“Although the event of my birth has provided me
with a natural Licence to Live, I do not seem to fit in to the cultural norms and I tend to resist to confirm with them.
My PhD. project is an attempt to recognise the person I am and to identify the reasons and factors
which have contributed to the way I am.
The outcomes of this process, would hopefully, provide me with a systematic and therapeutic agenda
which would help me to accept myself as I am
and indicate a progressive path into my future.”
(Farid 2008)
Parvaneh’s project seems to be building a bridge between two cultures, the east and the west, while continuing referencing to newly developed school of thought with a global vision; the Bahá’í faith. The story of her journey may benefit those who wish to study the life of a woman who was not accepted by her own culture neither was she by the culture of the country she took refuge to. The outcomes of this study may be especially interesting, because she is being interviewed, analysed and interpreted by herself, looking at her own body, mind and spirit within the contexts of these conflicting cultures.
Why the use of Internet Technology:
“A mechanism of world inter-communication
will be devised embracing the whole planet,
freed from national hinderances and restrictions,
and functioning with marvellous swiftness and perfect regularity.
(Rabbani 1978)
"I am now convinced, that the use of the website
is an appropriate format to deliver your project…”
(Boyce-Tillman 2008)
The other beneficiary aspect of Parvaneh’s project is her interest in the use of innovative artistic method of expression and the use of new technology which has not been experimented much within academic arena. The modern inter-global technology is here to stay and sooner or later its capabilities for being used as a format to submit academic thesis will be established.
Public Art: Parvaneh has also a great interest in sharing her findings with the general public and believes that the internet technology can facilitate her with the most effective means to share her work with the people across the globe. Hence she maintains a rather extended webside of her work; http://www.latelierpapillon.co.uk/ .
“The art within the walls of an exhibition is as alive as fish is inside a can.
I believe that the arts should be where people are,
and not in possession of a few privileged members of the society.
The real public art can only be found in the graffiti around the cities
and on the websites and weblogs of the unknown artists.
The graffiti and websites are free from the influence of the marked
and the censorship of kinds.
Hence, I use the internet technology
to communicate my art work to the people.”
(Farid 2008)
Saturday 8 May 2010
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