Needle opens a window to the artworks of Nasim Asgari, Mona Barani and Nastaran Ghadiri who all have tailoring and cloth as the core raw materials of their artworks in common.
Generating cloth-oriented artworks in Iran dates back to an immemorial time. Indigenous women in every corner of this land, have given birth to breathtaking pieces of needle works.
Withstood during decades, this long-standing tradition of maneuvering with needle, thread and cloth in order to create a piece of art, has been appreciated and focused on by artists as a serious movement, leading to amazing outcomes. In the course of many years, Nasim Asgari, Mona Barani and Nastaran Ghadiri have lent themselves to studying and creating art through this method, and each have added a final marvelous touch to their artworks by shining light upon the meaning residing within the piece.

Nasim Asgari (b. 1990, Tehran, Iran) Bachelor of art in painting. Start activities in the field of doll making at 2006 and in context mixed media after the end of the school.
Statement:
I think when I die, nothing of my belongings will ever belong to any one else, my clothes, my shoes, my cell phone, my nail clipper, my glasses, as if they are my shadow the, and have a trave of me in themselves, even when I’m not there, and no life shines on me so that my shadow falls on the ground, on the wall, on the couch, on the bed, on a chair, etc. My trace is in the lines that stitches form on textile, making shapes that come to life as soon as they are made. They are going to have a shadow-like life, an eternal life that has a trace of me in it, even when I’m no more there.

Mona Barani (b. 1984, Mashhad, Iran) Bachelor of Costume Design. Master of Textile and Clothing Design from Tehran University of Art and Architecture. In her exhibition named “Woman, Breast Cancer and Immigration”, she reached a link between the East and Europe and found a ground for her activity and process in Iran. she began her artistic career as a theatre actress and costume designer in 2002. Mona Barani is a faculty member of university, teaching textile and clothing design in addition to her work as an artist
Statement:
The exhibition To the Bone started by collecting and archiving Baluch clothes of girls who were married as children, handmade clothes with customary ornaments that were bought from them and later sewn onto bed quilts
The embroidery of these clothes onto the quilts is a repetitive action to me, where I can discover my connection and commonality with these young women.
The relation between the tradition of child marriage and the tradition of embroidery in this region is what has occupied my mind since in my interviews with them, I realized that the same thing has happened to the children of these hurt women and apparently, this tradition continues to exist، like the tradition of embroidery that is transferred from one generation to the next. The colorful streaks of this notebook is representative of the grace of the girls who are reposing quietly, entrusting this heritage to the next generation from underneath their colorful skirts.

Nastaran Ghadiri (b. 1984,Tehran, Iran) In she graduated from Tehran University, Faculty of Fine Arts with a Bachelor of Painting In 2010. she moved to Perth, Western Australia to complete her Masters degree in Two Dimensional & Digital Design at Edith Cowan University Since 2004 she has been working as a graphic designer, illustrator, printer, painter and sculptor with some experiences in animation and has been a part of several group shows and two solo shows in Iran, Australia and America. In recent years, she has been working mainly with textile and soft and recycled materials to create large sculptures and embroidered pieces. In her work, she explores themes such as the relationship between body, psyche, place, and memories; identity, longing, belonging and loss, and birth and death.
Statment:
Most of us have an active presence in social media these days and sometimes have long conversations with friends and family; especially if we live in different geographical locations and our entire connection is encapsulated in these digital dialogues. Consequently, when one dies, the other one is left with a large volume of recorded conversations
Departed friends do not suddenly disappear. Fragments of their physical existence remain in our phones and computers in the form of voice and text. Their profiles become virtual tombs and the chat histories become treasured possessions that we preserve, read or listen to over and over to deny death and mortality. Every single word takes on a new meaning and the daily chats, which no one ever meant to eternalize, are granted an unexpected immortality. These two works are my attempts in preserving only a few, out of billions of words and stories shared with a very special friend.