Ala Ebtekar, 1388, 2009, Shoes.
Ala Ebtekar, 1388, 2009.
Ala Ebtekar, 1388, 2009. |
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The Third Line
Al Quoz 3
+9714 341 1367
Dubai
1388, New works by Ala Ebtekar
October 8-November 5, 2009
Ala Ebtekar focuses on the historical and current personification of Iranian women at the forefront of leadership within society with a series of photographic works.
The artist explores iconic figures from contemporary Iran. In this new series, Ebtekar paints directly onto color photographs of Iranian women in iconic poses demonstrating strength and vision. The scarves (roosari) that cover their head and hair are transformed into a soft armor, although delicately detailed and placed; they reference a strong spirit and resilience. Ebtekar portrays women as warriors, suggestive of both ancient Persian epics and the most recent call for freedom by Iran's youth - a movement frequently led quite visibly by Iranian women, who have re-entered the world stage with a particular power and grace.
Ebtekar often paints on historic manuscripts with bold compositions which are a mixture of history and events of today. His work has frequently explored the performative poses of b-boys, Persian wrestlers and modern-day soldiers. Shifting his focus now, these new works feature portraitures of Iranian women with variations of ancient armor.
Turning towards the medium of photography, Ebtekar uses the image as an endless stage of respect, performance and fashion, connecting both the present and the past. The works present a vivid door into Iran, challenging conventional representations and celebrating today's youth — yet maintaining his references to Persian mythology. Ebtekar's portraits also reveal a little known history: Persian women as medieval knights.
By replacing warrior accessories such as helmets and swords used in ancient battles, Ebtekar has transformed the idea of these women into modern day fighters. Delicately placed and positioned, the added armor creates an opposed transformation of appearing soft and strong at the same time. Some items are worn by his models and some are painted on; detailed illustrations are then added to the photograph combining fantasy with reality. Simultaneously, by referencing two epic moments in Iranian culture, the clothing brings about a new direction, playing with fiction and non-fiction, femininity and strength.
In part, this body of Ebtekar's work is a celebration and homage to Iranian women. “The works are a visual narrative; a simultaneous deconstruction and reconstruction of time and space – a visual glimpse of crossroads where present day events meet history and mythology,” states Ebtekar. This in turn, creates what he calls a ‘synthetic epic’, with the works resulting in myriad interpretations and layers of time. Bringing together the past and current, Ebtekar locates what has been lost and that which could be found; appreciating nostalgia yet anticipating a new vision.
Ala Ebtekar describes his work as "a visual glimpse of a crossroad where present day events meet history and mythology". As a teenager he joined the seminal group K.O.S. (Kids of Survival), working with artist Tim Rollins on collaborative artworks involving groups of urban youth. He received his BA from the San Francisco Art Institute and his MFA degree from Stanford University.
His work has been exhibited internationally and was recently featured in two prestigious exhibitions: •One Way or Another: Asian American Art Now•, a touring exhibition originating at the Asia Society, New York, and in the 2006 California Biennial at Orange County Museum of Art. This past year Ebtekar was featured in •Bay Area Now 5•, at Yerba Buena Center for the Arts, San Francisco. He was also the recipient of the Visions From a New California Award this year. He is a visiting lecturer at UC Berkeley and Stanford University. Ala Ebtekar lives and works in the San Francisco Bay Area.
Ala Ebtekar, 1388, 2009.
Ala Ebtekar, Blind Gaze, 2009, Acrylic and ink on digital pigment print on Hanemühl paper, 101.6 x 76.2cm. |
