Archaeology of memory

The archaeology of memory as it relates to my practice is in reference to the metaphoric fragments of memory contained within the construction of a surface on canvas. constructing this surface involved collecting unwanted timber objects and processing them into a new material, by burning. This new material, transformed and reduced to charcoal powder, is then applied to the surface of a canvas with heavily process driven technique. It is then further reflected upon and filtered through the aesthetic use of language; in particular the opulent aesthetic of ‘Nastaliq’ one of the main calligraphic hands used in writing the Farsi alphabets. The outcome of this process is the evocation of multilayered metaphors that speak of, longing, belonging, hope and trepidation. As can be seen in this physical process, the act of burning resonates deeply with Sha.

The rationale behind using charcoal as a medium in making work of art is a metaphoric statement by the artist, the violent process of charcoal going through fire its nothingness as a material resonates with Sha and his journey escaping war and as a refugee, using it as a medium give live to the myth of phoenix rising from the ashes.

The aesthetic of Nastaleeq a Farsi script is used in the artwork as an act of protest and turning the table on the audience and creating a vulnerable setting in their interaction with the artworks; an experience that sha shares through his journey as a former refugee.