Hi Nazanin, can you tell us a bit about yourself?
I’m Nazanin Moradi, I’m an Iranian-born visual artist living and working in London. I received an MA in Fine Art from the Chelsea College of Art (UAL) in 2016. I’ve exhibited in the UK, Europe, America and the Middle East.
My work addresses themes of gender, the body and death through the broader context of cultural history, mythology and memory. I create deeply personal mysterious spaces to imagine an ‘other space’.
Tell us about your practice
My art practice includes costume making, performance, painting, soft sculpture, and collage which are defined by constant construction, deconstruction and reconstruction.
I move between three-dimensional textile works and two-dimensional images to create a dialogue between my materials, the studio space, and my body.
What can we expect from you in MK Calling?
For MK Calling I have presented a soft-sculpture suspended from the ceiling titled Turning & Turning. Turning & Turning has multiple interpretations, the use of soft materials in itself represents the fragility of the body. The sculpture contains different fabrics, accessories and an Adidas shoe. These represent three different periods in Iranian history: the first fabric is floral in design and represents the pre-Islamic period; the geometric one represents the post-Islamic; and the Adidas shoe represents the colonial period in Iranian history, these are intertwined with my own personal story and experience and the broader concept of loss.
My work is influenced by Eastern philosophy and Western art. Turning and Turning is inspired by the devotional dance of the Sufis, while the sculptural form draws on the work of Dorothea Tanning.
Your work explores transcendence within personal loss, can you expand on what this means?
My work explores transcendence and personal loss, TT represents three individuals myself, my mother and my sister, all from Iranian heritage. With each of us fleeing to the United Kingdom, we are now no longer Eastern but not yet Western, we are literally hanging in this liminal space between East and West struggling to maintain an identity whilst forging and assimilating into a new one.
Can you tell us more about the process in creating the works i.e. choice of fabrics and textiles and the physical process of constructing?
In general my process has three stages, first starts with 3D, by selecting a fabric, then sewing the costume, then by wearing the costume I carry out a performance. I use my body as a site of storytelling: “once I wear the costume, I let the body speak on itself, to tell its own hi/story”.
The second stage in 2D, includes image making in a variety of formats (painting, drawing, and printmaking).
The third stage returns to 3D with soft sculpture by adding more forms, materials and stuffing to the costume from the first stage.
How do you want viewers to respond to your work?
I want the observer of my piece to be bound to the work by a voyeuristic drive that pushes them to delve into the intimacy of the emotions and thoughts of another individual.
To see more of Nazanin’s work follow her on Instagram @naz.art.mrd or visit her website http://nazanin.co.uk
MK Calling 2020 reopens on 11 September until 1 November 2020.