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  • 30 Pourmousa St., Somayeh St., Villa St.,
    Tehran - Iran

    +98 21 8880 9808
  • Entirely personal for the public
    One-person show
    July 16 – August 6, 2021

    I have constantly contemplated how and why has the “ability to ponder” developed in me?
    Isn’t overindulging in daydreams and fostering imaginations, the atonement for our sins?
    Is this ability to ponder” not the compensation considered for me and my fathers, who are the “fallen?
    Man is born and births, but his origin is the divine entity that was not born and does not birth, but brings to dance and creates a world for his fallen creations. Creations that can go far in their imaginations, to go beyond death, or go rearwards, reach the moment of banishment from heavens, or even further back, to the gardens of Eden, to the tree of knowledge. Yet, at the moment of picking the apple, a familiar voice alerts or perhaps deceives you
    The voice that perpetually whispers:
    The fruit is forbidden because I have it set aside for an uninvited guest.

    Press release:
    In her paintings, Saranj uses a comedic but familiarizing tone to depict a world that is very much personal and inspired by her own stories and imagined narratives.
    Her repetitive motifs, the disfigured animals or birds that we have tamed for companionship, her acquaintances, historical and imagined faces, lose their dependency to time and place to reflect her personal narratives whilst preserving their general constructs.
    Now why are these figures distorted? Why are Jesus and Abraham dead? Isn’t it so that Christ’s followers are waiting for the second coming? Didn’t the angels of Yahweh save Abraham’s life in time? Why do we witness Christ’s death and Isaac’s severed head?
    In her figures, Saranj pictures the world of the dead with using the least elements. This is evident in the faces as well; human faces, grim and sad faces, a Mary who is holding her children, all tell the story of a world that the artist loves. The deformation of the figures, suppresses the human liveliness and pictures the virtual world.
    Because of this, the use of gray, green, and black color and light, the brush strokes, light and darkness, density and dispersion, all clear signifiers of the imaginative nature of this represented world.
    In this exhibition, the artist’s visual impressions and inspirations, have cast their shadow on her real and personal life.
    A black wall where a black portrait hangs, with a red cross that illuminates the space, lead the viewer to the metaphorical realm of death, and they follow the artist where she has entered her own figure into her compositions  in various states. Saranj uses her unique sense of humor to deliver a narrative of the meaninglessness and worthlessness of things in life.
    The title of this exhibition, “entirely personal, for the public” represents a fictitious world that has been exposed to the public, a world that shapes up for the audience with 32 pieces of paintings and installation work: