“ … ornament is the ultimate mediator, paradoxically questioning the value of meanings by chaneling them into pleasure. Or is it possible to argue instead that by providing pleasure ornament also gives to the observer the right and the freedom to choose meaning?”
(Oleg Grabar, The Mediation of Ornament)
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Portable Culture: Mallards & Reeds, acrylic paint and laser etching on wood, approx. 70" x 87", 2021
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Portable Culture: Mallards & Reeds, acrylic paint and laser etching on wood, approx. 70" x 87", 2021
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Portable Culture: Mallards & Reeds, acrylic paint and laser etching on wood, approx. 70" x 87", 2021
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“Portable Culture: Maple Leaf”, acrylic & laser-etching on found object on wooden panel, 12″x 24″, 2017, collection of Global Affairs Canada
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“Portable Culture: Maple Leaf”, detail, acrylic & laser-etching on found object on wooden panel, 12″x 24″, 2017
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“Portable Culture: Canada Goose”, acrylic & laser-etching on found object on wooden panel, 12″x 24″, 2017, collection of Global Affairs Canada
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“Portable Culture: Canada Goose”, detail, acrylic & laser-etching on found object on wooden panel, 12″x 24″, 2017
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“Portable Culture: Herringbone Pallets”, mixed media on wooden panel, 24″ x 24″, 2017
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“A Trace of Traceless: Glasgow”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016
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“A Trace of Traceless: Regina”, acrylic & laser-etching on found object on wooden panel, 8" x 6″, 2016
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“A Trace of Traceless: Vancouver II”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016
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“A Trace of Traceless: Vancouver I”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016
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“A Trace of Traceless: Berlin”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016
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“A Trace of Traceless: Kitchener”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016
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“A Trace of Traceless: Honolulu”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016
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A Trace of Traceless: London”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016, private collection
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“A Trace of Traceless: Toronto”, acrylic & laser-etching on found object on wooden panel, 8″ x 6″, 2016, private collection
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Inside: Flora, Fauna, Totem, Acrylic o laser etched cardboard box, 8″ x 5″ x 2.5″ (closed box), 2017
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Flora I, Acrylic o laser etched cardboard box, 8″ x 5″ x 2.5″ (closed box), 2017, private collection
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Fauna I, Acrylic o laser etched cardboard box, 8″ x 5″ x 2.5″ (closed box), 2017
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Flora II Acrylic o laser etched cardboard box, 8″ x 5″ x 2.5″ (closed box), 2017
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“Found Text: Composition I”, hand-cut wood on birch panel, 12″x16″, 2016
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“Found Text: Composition II”, hand-cut wood on birch panel, 12″x16″, 2016
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“Found Text: Composition III”, hand-cut wood on birch panel, 12″x16″, 2016
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“Found Text: Composition IV”, hand-cut wood on birch panel, 12″x16″, 2016
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“Found Text: Composition V”, hand-cut wood on birch panel, 12″x16″, 2016
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“Found Text: Composition VI”, hand-cut wood on birch panel, 12″x16″, 2016
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“Cultured Pallets Studies III”, mixed media on birch panel, 16″x20″, 2015
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“Cultured Pallets Studies III”, detail, mixed media on birch panel, 16″x20″, 2015
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“Cultured Pallets Studies II”, mixed media on birch panel, 16″x20″, 2015
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“Cultured Pallets Studies II”, detail, mixed media on birch panel, 16″x20″, 2015
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“Cultured Pallets Studies I”, mixed media on birch panel, 16″x20″, 2015
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“Cultured Pallets Studies I”, detail, mixed media on birch panel, 16″x20″, 2015
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“A Trace of Traceless series”, acrylic & laser-etching on wooden panel, 5″x7″, 2014, private collection
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“A Trace of Traceless series”, detail, acrylic & laser-etching on wooden panel, 5″x7″, 2014
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“A Trace of Traceless series”, detail, acrylic & laser-etching on wooden panel, 5″x7″, 2014
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“A Trace of Traceless series”, detail, acrylic & laser-etching on wooden panel, 5″x7″, 2014
Made in Iran, consisting of two sets of collections of small plaques, is made in the tradition of Persian Marquetry mostly by Esfahani’s aunt in Iran. The first series of plaques depicts a collection of glyph forms based on arabesque designs of the tips of lotus leaves used in illuminated manuscripts, while the second series is a collection of various motifs and texts gathered from a variety of cultural sources, including graffiti and William Morris wallpaper design. In creating
Made in Iran, the notion of cross cultural transfer is foregrounded by initial collecting of the designs in Canada, by producing the pieces in Iran, and by exhibiting them in Canada as art objects in the context of an art gallery.
Made in Iran potentially undermines the ‘origin’ of these objects through the back and forth transfers of materials, texts, and meanings.
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“Made In Iran”, Various types of wood, Installation view, 2010
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“Made In Iran”, detail, Various types of wood, 4.5”x6.5” each plaque, 2010
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“Made In Iran: The Break in the Tip of the Lotus Leaf”, detail, Various types of wood, 4.5”x6.5” each plaque, 2010
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“Made In Iran”, detail, Various types of wood, 4.5”x6.5” each plaque, 2010
![Photo of work from the Trans Series by artist Soheila Esfahani]( "soheila_trans_005")
“Made In Iran”, detail, Various types of wood, 4.5”x6.5” each plaque, 2010
