Conversation with Atoosa Fadaei

Congratulations on winning the MyMA May Grant, Atoosa! Can you tell us a bit about yourself and your practice? (answer this one)

I am so pleased to have been selected, and I appreciate the opportunity provided by the myma team to discuss my works. My name is Atoosa Fadaei and I am originally from Iran. I am currently a master of Fine Arts student at Kent State University in Ohio. I also hold a Bachelor's degree in Sculpture Making from University of Tehran, Iran. My practice is mostly about displacement, destruction and death caused by war. I'm trying to show the destructive effect and displacement caused by the war in people's daily life.

Your work focuses on the destruction, displacement, and death caused by war. How do you aim to convey these themes through your art?

My work is about how reality gives up its place and only representations remain; Representing scattered elements that no longer exist. Collapsed houses and the sense of death and destruction in the ruins, the torn bodies, the changed attitude about death that war imposes on us. what war is like and what war does; It crushes, disintegrates, and razes the built world to the ground.

You previously mentioned Susan Sontag and Christian Boltankski as influences. Can you elaborate on this connection and how they inspire you?

The book Regarding the pain of others by Sontag and Christian Boltanski installations have affected my ideas a great deal. In my works, like Boltanski, I used people's clothes as a symbol of their absence; The absence of people who were once present somewhere covered by these various fabrics but no longer exist. In Regarding the pain of others, Susan Sontag discusses the condemnation of war. She thoroughly debated why it is denied, which helped to open my mind and better understand the war.

Why do you think it is important to avoid cliched images related to war in your works?

Avoiding clichéd images related to war in my works is important because it allows for a more authentic and nuanced portrayal of the subject. By steering clear of overused and predictable imagery, I can provide fresh perspectives and deeper insights, encouraging the audience to engage with the complexities and realities of war. This approach helps to create a more meaningful and impactful narrative, which resonates more strongly with viewers and contributes to a more profound understanding of the topic.

Can you explain the significance of using animal carcasses and clothing in your installations? What do they symbolize to you?

Animal carcasses, especially domestic animals, have been one of the most used elements in my installations that indicate death. Cloth clothing is another element that refers to humans and their absence in my work; humans once existed in the cover of these colored fabrics, but they no longer exist. The pile of clothes that I use can represent many people and their memories, maybe a shared memory. When it falls on the remains, the disaster becomes clear: war, destruction, displacement, and confusion. I tried to utilize new and different materials as much as possible in my works, such as clothes; The combination of various materials has always been pleasing to me. I want to show another picture of the devastation of war because most of the visual works related to this concept are pictures of soldiers and war scenes and less about daily life. In this way, I used images and news documents related to war and massacres as references.

Can you walk us through your creative process when starting a new installation?

First, I start by collecting a visual archive for myself, gathering images that I believe will help me get closer to the concept I want to work on. Additionally, reading books or articles related to my subject always helps me understand the topic better and more deeply. In the next stage, after I have gathered enough data, I begin drawing and making collages. Following that, I start building small maquettes of my initial ideas to refine them into final concepts. Finally, I execute the maquettes in the materials I intend to use for the final dimensions.

How do you see the relationship between war, death, and daily life, and how do you aim to depict this in your work?

War disrupts daily life in profound ways, reshaping societies and personal experiences. It’s not just a series of battles but a pervasive force that alters the fabric of existence. Death, as a direct consequence of war, manifests in personal loss, trauma, and societal change. Daily life is both affected by and continues despite the presence of war and death. To depict the relationship between war, death, and daily life in my work, I would approach it through a multifaceted strategy that integrates narrative depth, emotional resonance, and thematic exploration.

What challenges do you face when creating art that deals with such heavy and emotional subjects?

Certainly, it is emotionally difficult for me, and often I feel a sense of hopelessness, wondering what impact it makes to address these subjects in my work. However, I always remind myself that as an artist, it is my mission to engage with issues related to life and the human condition through my art. I believe that art should reflect the spirit of its time.

You just moved to the United States to pursue your MFA at Kent State. Can you share a bit about your experience thus far? How has your work changed?

There are many resources available to me here that I can utilize, as well as highly skilled professors who assist and advise me both in terms of technique and execution and in terms of concept and idea development. Here, I have learned to work with wood and metal, which enables me to create better structures for my works and to use a variety of materials in my works. The feedback I receive from my professors throughout the semesters greatly helps me to develop my ideas further. Additionally, the regular studio visits arranged for me with artists here are very beneficial for my progress.

Do you have any studio rituals?

Yes, I have a few studio rituals that help me get into the creative mindset. First, I start by organizing my workspace to create a clean and focused environment. Then, I review my visual archive and notes to reconnect with my current project. I often listen to specific music that aligns with the mood of my work. Additionally, I spend some time sketching or working on small-scale models to warm up before diving into larger tasks. These rituals help me maintain a steady flow of inspiration and productivity in my studio.

Who are some contemporary artists you’re looking at now?

Colombian contemporary artist Delcy Morelos and Diana al-Hadid Syrian-born American contemporary artist.

What advice would you give to emerging artists today?

Not to get discouraged and to continue their practice and experimentation, because it is through extensive practice that they can create better works and have their works recognized.

When you're not creating art, what hobbies or activities do you enjoy?

I exercise and spend time with my husband and friends. The city I currently live in, Kent, has incredible nature, and I try to take advantage of

What’s a book or movie that you think everyone should experience at least once?

In my opinion, everyone should watch the film "Come and See" directed by Elem Klimov because it fully captures the suffering and hardships of war.