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Crushing Stones

Body Art, Photography and Voice Performance

Visualize a gravel pit: a vast landscape skirted by wind, where only the female voice is audible. Words move through air, physically contrast with gravity. Each image hides the focal point, utilizes emptiness and shadows to sustain the composition.
Shatters of the mountain, stillness of the surrounding, announce the defencelessness of the moment. Dame, disrupted stones, separated from earth that has conceived them, whose bodies photographed by a dramatic touch, changed into an object, representing the grave matter of stage figures.

Women of extreme beauty crystallize a mosaic of shapes. The skin is rigid, with neither color nor movement to revitalize the overall scene, wanting to be suspended. Only light gives depth to make it recognizable. The white painted skin, covers the bodies like a whitewash wall to veil and purify. coarse brushstrokes narrate the stony surface that collects theatricality and analogue photography.

The need to transpose in photography and create interactive, sensory experiences creates a paradox between the reification represented and the participation of the spectator. The abstract composition is represented in the breaking of a flowing. In the narrative, gesture follows gesture, beginning and end meet up, chasing and animating a story, so to oppose the frozen image: the scene is interrupted. Incessant dynamic, intimate expression that leaked from a natural step, here is deliberately silent background and content, without any attachment to life and the protagonists don’t dance, waiting petrified.

Eternity Woman

Body Art, Analogue Photography and Live Performance

The boundaries of a body make it visible. The line marks the distinction between a body and the environment in which it is inserted. The eyes of the observer linger on the white. The sinuosity unravels a string, meaning the return to an original character. It embraces and stresses femininity, and gathers around the hieroglyph of Eternity. It is a representation in black and white, moving from the curvilinear candour intervening to break the uniformity. There is no chromatic variations, only the essential fullness and emptiness on canvas. The oblivion black annuls the details, throws the figures in a depth that has nothing withheld from, only through the white section, which restores their natural relief. Suddenly the pattern is broken: red, blue, yellow, green humanity on the scene. The vivid color variation generates a circular motion. The rhythm is superimposed on the static nature of things placed outside time and space. The theatricality of the dance blends together the fixity of images.

“Veil is obligatory”

Photography, interactive performance

This exhibition doesn’t start, when a visitor stands in front of the installation: already exists. where the veil imposes fusion with the images represent, they enter the picture. Disrupted any point of reference that interprets the outside observer as an eye, he/she who observes, putting on a cover, drops each distinctive trait: man or woman, young or old, blonde, brown, red, yellow or green. The notion of categorizing human is not known, which opens a paradox: every one recognizes themselves in the nakedness of the female figures hanging on the walls, and one actually see themselves without any covering up.

"Veil is obligatory." This exhibition involves a childhood memory from nearly thirty years ago, including scents of the roads, swarms of sounds, and eccentricity of a warning forgotten for too long. After all, it is a journey back home, a rediscovery. With the lightness and curiosity that speak intimately of the female, implying through the reversal game, questioning the matter of obligation. Veiled women, women who reveal their body, women gathered around the simplicity of a daily action. A survey of image-to-image that through the implementation of the meanings, asks loudly: “Do non-respectable body parts exist?” This research goes beyond tracking the boundaries of a population, in the synthesis between the skin and the overshadowed head, the sacredness of each space.

BIOGRAFY

Negin Vaziri is a photographer and set designer who was born in Iran and studied theatre at the "Cinema and Theatre" University of Tehran. In 1999 she immigrated to Venice (Italy), where she attended the Academy of Fine Arts and studied the entwining between photography and set design.

The dual experience, Italian-Iranian, has allowed her to get into the “heart” of two cinematographic and artistic traditions, stimulating thoughts and cultural contaminations that interact with the same creativity, consequently revealing the possible way for dialogue and mediation.

The following experiences are witnessing of the maturity she gained:

since 2001 she is Advisory Member of Venice’ Artistic League,"New Prisons Building";

since 2001 she is Advisory Member of the Cultural International linguistic Association in Venice;

Since 2002 she has been working as cultural mediator of social politics for the Venice Council Town.

She also volunteers with and contributes to Amnesty International, Gender Equality and One Million Signature Campaigns.

She has held various art’s solo shows and is the recipient of several international awards. In the last 10 years her path has followed a red thread: a research on feminine reality in an artistic and social field.