Current Exhibition 

Rotary Descent

September 10 - October 7

Born in 1980 in Tehran, Iran Mahdieh Abolhasan began painting and sculpturing as a child by attending Kanoon courses. She is a member of the renowned Iranian artist Farhad Gavzan's Drawing House. Her works range from sculpture to performance, and she also works on graphic design for several art magazines and art books. Abolhasan's works primarily incorporate a special paper handmade by the artist herself. Each installation invites the viewer to peer into an isolated space, where they find yet another dimension into the artwork that would have remained unrevealed otherwise. In 2020, Mahdieh became the winner of the "Khor Art Initiative." Artist and jury member Katie Grinnan particularly praised her works for their layered topographic and historical aspects and the "dynamic nature of the layers," which allowed for shifting forms and structures, creating a complex narrative. Mahdieh also engages in performance art and land art.

Artist, Photography, Mahdie Abolhasan (3


The parts that have been carved, burned, cut and discarded are what that are invisible to us but they are hidden inside us. These parts are similar to the wounds that were healed during the time, and I just put them in front of the mirror because the time is not reflected in the mirror. The mirror is the “anywhere else”, out of the concept of time. The other place that “you are” there, but at the same time “you are not”. These wounds are being forgotten only by remembering.
What appears in my artworks is the volume which is made out of ruins. Each artwork is a sign of a human that gets empowered by the scars of wounds and, only the ash of them reminds us that one day they existed without having anything left. By passing every second something dies inside us without having anything left. By passing every second, something dies inside us, and the wounds and their repetition are evident in the ashes experience in the layers and mirrors. The ashes experience is not only an experience but also an experience of forgetting the oblivion itself, it is an experience of forgetting what has nothing left. The time layers are loyal like the mirror in a way that only shows you the reality. The picture that you see in my artworks are wound residues, the wounds which are not even removed through the passage of time and could be like a restart all the time. The wounds are as deep as can be, can be healed, but they have their scars. The impact of the wounds is not their healing, but that is the scar on our awareness. I invite you to the installation of this selection to read them freely and set them. Revise the wounds, open them and create your own book with new awareness.

Poster, Rotary Descent 1.jpg