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In the exodus, I love you more series, 2014 - ongoing

Wall text

Wall text

Hoda Afshar

Born 1983 in Tehran, Iran.  

Lives and works in Naarm/Melbourne. 

Pronouns: she/her 

Confirm total artworks

"Portrait #6" 2015

digital print on PhotoTex

"Grace" 2014
"Dressed" 2016
"Thing" 2015
"Portrait #4" 2016
"Tale" 2014
"Limit" 2014
"Curve" 2015
"Crease" 2014
"Removed" 2015

"Lit #2" 2014

digital print on PhotoTex

"Endure" 2016
"Turn" 2016
"Duration" 2016
"Gather" 2016
"Lit #1" 2016
"Departed" 2016
"Portrait #7" 2017
"Touch" 2014

pigment photographic prints

"Twofold" 2014

digital print on PhotoTex

"Near #1" 2015
"Near #2" 2015
"Remain" 2015
"Place" 2016
"Ascend" 2017

pigment photographic prints

Courtesy of the artist.

Returning to Iran seven years after moving to Australia 
at the age of 23, Afshar was confronted with a sense 
of dislocation and dissociation – the familiar had 
suddenly become unfamiliar. She met this experience 
with curiosity, embarking on what would evolve 
into an ongoing photographic project. In the exodus, 
I love you more
, a series she began in 2014, is a portrait 
of Iran composed of fragments and small details. Using 
the camera to navigate nostalgia and reconnect with place, 
Afshar was drawn to scenes in which the subject is 
partially obscured. Landscapes are suffused with fog; 
cloth is draped over objects; figures have their back to 
the camera. These photographs hesitate, as if aloof and 
distant – a mirror, then, of the artist’s own experience 
of ambivalent belonging. 

Afshar’s use of concealment as both metaphoric 
suggestion and a compositional device also carries 
political intent. More than simply an emotive echo 
of her own sense of displacement, these photographs 
evoke, in Afshar’s own words, the way ‘Iran is often 
limited or reduced to what’s reflected on the surface’ 
in Western media. In later work, Afshar continues to 
explore the expressive potential of concealment to 
alert us to truths that might be hiding in plain sight.


Audio text to come soon

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