I want to offer tactile experiences for those who are left out of a dominant language and culture. As an immigrant in this country I know how it feels to be excluded and isolated from public dialogue and spaces. I want my art to speak to many communities. I make this work thinking about my parents and my own early experiences of arriving to a new country.
My family escaped Afghanistan when the Soviets invaded in 1979. We crossed the Khyber Pass into neighboring Pakistan. We arrived here in 1984—refugees of war in a small suburb of New Jersey. My sisters and I learned very little about our native region in the American education system or through mainstream media. When Afghanistan is presented it is in connection to violence and war. Afghan people are often portrayed as barbaric—men as terrorists and women as victims.
In my artwork I address this prejudice and offer something new—something that is fuller and does not have an agenda for war. In my earlier work, I clipped pictures from newspapers reporting on The War On Terror. I added what I thought was missing and removed extraneous parts. For instance in Party on Afghanistan series, 2010, I noticed that women were missing from reports from the region. I imagined them interrupting and added them by cutting their silhouettes from the picture and paper.
In 2011, I ventured into Persian poetry and literature. My older sister had returned from Afghanistan with books from the old city in Kabul. She brought a few books of poetry written by women in the early centuries in the Afghan region. This region was known as Persia until the 20th century and included Afghanistan, Iran, Iraq, Armenia and Turkey among other countries. We decided to work with these poems. We formed a collective of five women and produced Ishqnama/The Book of Love —a handprinted artist book of the translated poems.
Making this book had a big impact on me. I connected to my Afghan culture in a new way—through history, literature and poetry. We uncovered Persian women poets from many centuries ago whose voices resonate with us today in Brooklyn, NY.
Today I print what is in my heart. I cut paper stencils and screenprinted my own messages. BEFIERCE bekind series is based in Buddhist philosophy. We are encouraged to be fierce and lean in often. I consider being fierce and kind at the same time. ACHEART , HEATHEART and HEARTHURTS prints are the core of Persian poetry. Persian literature is steeped in desire and heartache. At the time, I was researching artists who used language in their artwork to express messages directly. I found the work of Sister Corita Kent and became inspired by her colorful provocative prints. She was a nun and educator in Los Angeles who made screenprints calling for peace and justice, most notably in the 60’s and 70’s.
Making visual poetry is a liberating process because there is no limit to what I can describe. In this work words become containers for emotion. I experiment with them visually—letters become shapes and lose their meaning. The word itself and the message is important—but it is a starting point. It is important that the energy and playfulness is present in the prints. I want the viewer to be engaged—to see how the shapes break down and combine. I want them to see how when one transparent color is printed on top of another they make a third color. I want the viewer to see the drips and motions of the hand. If the they cannot read the word or the message they can experience it through color, shape and texture.