Mid-June Painting

Before leaving my country, I wandered the streets of Tehran. I was drawn to abandoned houses—silent witnesses to time’s passage, to lives once lived. These houses, now standing as fragmented relics, are layered with the palimpsests of their histories, each layer telling a story of departure, loss, and the enduring traces of human presence. The "Concrete Poetry" series captures the spectral dance between absence and presence, materializing through the fragmented vestiges of forsaken shelters. The term "bunker," derived from the Scots for "bench" and evolving into a lexicon of protection and impermanence, becomes an allegory for the architectural and emotional landscapes we inhabit and abandon. This series interrogates the paradox of structures meant to safeguard, yet inevitably deserted, their permanence undermined by their very purpose as transient refuges. The series reflects on the paradox of shelters designed to protect yet ultimately left behind. What remains in these spaces are fragmented memories, echoes of the past that linger in the architecture. The abandoned houses of Tehran, much like bunkers, are strongholds of collective memory, carrying within them the essence of the people who once inhabited them. In "Concrete Poetry," the ruins and decaying structures become a canvas for exploring themes of permanence and impermanence, protection and vulnerability. These works invite viewers to contemplate the silent stories of these abandoned places and the enduring impact of what is left behind. Through the interplay of color, texture, and form, the series evokes a sense of melancholic beauty, capturing the poignant tension between absence and presence in the abandoned landscapes.