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In turn series, 2023

Wall text

Wall text

Hoda Afshar

Born 1983 in Tehran, Iran.  

Lives and works in Naarm/Melbourne. 

Pronouns: she/her 

 

"Untitled #2"

"Untitled #4" 

"Untitled #13"

"Untitled #9" 

"Untitled #5"

"Untitled #1"

"Untitled #3"

"Untitled #11"

"Untitled #14"

"Untitled #7"

"Untitled #6"

"Untitled #10"

pigment photographic prints

 

Courtesy of the artist

This new body of work was made in response to the
feminist uprising that began in Iran in September 2022,
following the death of 22-year-old Mahsa Jina Amini
who had been arrested by Iran’s morality police for not
wearing the hijab properly. Afshar’s monumental
photographs are a tribute and a testament to collective
action and collective grief.


The women in the photographs are, like Afshar, Iranian
Australians who have watched the protests unfold from
afar. Dressed in black, they cluster together and braid
each other’s hair. This is a direct allusion to the images
on social media of women in Iran defiantly discarding
the veil, and also to a practice common among Kurdish
female fighters who plait each other’s hair before
heading into battle against the Islamic State. With their
faces mostly hidden from view and their backs turned,
Afshar’s subjects are surrogates for their brave sisters
in Iran. The doves anchor the analogy; when protesters
are killed in Iran, family and friends release birds into
the sky.


The twines of a plait are referred to as pichesh-e-moo in
Farsi, meaning the turn or fold of the hair. A revolution
is a turning point, but it is never without loss. 

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