These drawings are ongoing series, based on my inner voice and what I see on Social media, news, environment, nostalgic memories.
Screen print and mixed mediums on different kinds of paper is the material for my drawings.
Spider on my face, 2023
Drawing on printed photograph, reverse painting on Acrylic Perspex
From Martyr project series, 2021
Mixed media on canvas
Exch panel size : 40x40x40 cm
Early Renaissance and mysterious medieval paintings have always fascinated me.
Collecting some images from the medieval and Renaisance period, particularly Bonezzo Gozzoli’s and Andrea Mantegna inspired me in this series.
Fantasy series like all other my projects, is developed by gathering the information and images foundfrom Google search based on free associations, dreams, fears, curiosities, love and dreads.
The aim is showing the connection between present and past in a mysterious way and also there is a nostalgic feeling in the whole finished painting which is about the past whether East or West.
Each work has two layers, the first layers is a landscape, inspired by European Renaissance period and the second layer which is on Japanese rice paper might be is inspired by East Asian or Persian old painting or even contemporary design and fashion industry mixed with my nightmares about insects.
The figures and animals on the second layer, are separated from the surrounding. They, mostly appear flat in two-dimensional form. Their smooth curviness, miniaturist, lissom dance notwithstanding, they are much like shadow puppets, whose being is determined by their distance to the source of light. The puppet looks characters exist, like shadows in the global theatre stage.
From Fantasy series, 2020
Acrylic on wooden panel, mixed media on Gampi rice paper
My works are usually, developed by gathering the information and found images from Google search based on free associations, dreams, fears, curiosities, love and dreads.
The discipline of my drawings and paintings are screen prints, ink, pen, pencil and acrylic on different types of delicate Japanese Gampi rice paper which can be as thin as 5 grams. I use the layering technique in my drawings and make the see-through images over each other. This technique is a metaphor for a complicated Iranian woman who has lived in different countries including Iran, South Korea and Ireland. East Asian looking characters, insects and flowers can be seen in most of my recent drawings.
In this particular work, I got inspired by Ghost in the shell and Gol o Morgh (birds & flowers) traditional Persian painting.
My works are a kind of mind collage, created by assembling non-relevant images together, trying to patch and repair the wounds and the chaos in my head and real life.
By collecting memories and patching the fragmented symbolic cultural elements, my works have emerged. There are lots of holes and imperfections embedded within the big patchwork, all revealed without regret.
Mixed media on rice paper
After a few trips to Tarascon in South of France and at the same time studding Quajar period art ( Iran) especially tiles, fabrics and paintings I started a series of drawing with different mixed mediums.
Mixed media on cardboard
From the Gold Land
Maps and Portraits by Roxana Manouchehri
Maps are the reflection [representation] of an external reality that are generally hidden from the field of view of humans; especially when they are maps of the world, countries' political or natural geography, a hidden reality projected in the context of a convention.
Despite the conventional ways of producing maps, there have always been people whose efforts have progressed the methodology of map production. People like Habash Haseb Marwazi during the 9th century, Abu Rayhan Al-Biruni during the 10th century or Piri Reis Sahab, an Ottoman cartographer during the 16th century, have all contributed to the techniques of mapping through their vast knowledge and creativity. They produced maps that could be easily understood and read by others.
This act is known as 'reading maps' and Roxana Manouchehri's project is focused on the process of map reading and in challenging its conventions.
In the era in which provincial maps, geography of politics and nature, ecology, demography, etc., can beread easily due to universally understood codes and symbols, Roxana Manouchehri has tried to produce a new kind of map in an artistic context, of global politics of the 19th century. Like other mappers, she has tried to reflect her ideas in three spheres: visual, symbolic and indexical. The symbolic sphere is represented by colours: gold is the symbol of ultimate power and other colours represent areas of imperial authority. In the sphere of image, Manouchehri has used countries' contemporary political maps and has adjusted them based on symbolic colours of the colonial world of the late 19th century. In fact, by overlapping the political maps of countries today and the world maps of colonial countries [colonial map] of the late 19th century, she has invented a new type of mapping and map-reading that is defined within an art project.
Since indexical signification of this project are referencing the idea of maps, as a representation of the world the way it is imagined and depicted, hence denotative meaning of the series is read through meanings of representation. Implicitly, however, Manouchehri's way of using political icons, her choice of iconic colour, and its placement on the map of each continent, in a way, is a reminder of the technique of Pointillists. Colours don't mix and borders don't reach each other, but the collection together makes the impossible, possible.
In addition to political, historical and geographical referrals, Manouchehri's indexical references to art history and to Pointillism in particular, shows that this project, more than anything, is Art. It is an art project that connotatively reminds the viewer of forgotten questions and concepts about representation.
In the second part of this project, she has selected and reproduced portraits of royalties that are related to the maps she has used and are interpreted accordingly. The difference is that instead of the faces of rulers and kings, she has placed mirrors so that viewers can see themselves in their place. In the portraits' section, colourful codes no longer exist and the viewer must imagine instead, the heritage of power in front of these mirrors.
Roxana Manouchehri presents From The Gold Land series based on three components: representation, reading and the history of political power. Her choice of contractual maps are not the only way to represent a world outside of our field of vision, and although our understanding of such vast reality has been adjusted according to the realities of two centuries ago, it is still possible to refer to such a large-scale outside reality through them in other ways. Roxana Manouchehri's exhibition introduces one of these possibilities.
Asia, From the Gold Land series, reverses painting on glass and Diasec print on plexiglass, 2014 to 2016
From Enigma Sries, 2013
Acrylic on canvas, laser cut acrylic Perspex,mirror film
In this project I used my photographs of churches in Ireland, mosques and shrines in Iran to create a series of large scale paintings to blend and dissolve two faiths and cultures in an artistic way.
Acrylic on canvas
In 2006 I was awarded for 6-month residency in Chang Dong art studies in Seoul/South Korea.
The culture shock and change of environment led me to create a series of large-scale paintings on Canvas and installation pieces from 2007 to 2009. This experience changed my personal life and artistic career completely.
This is my room, this is my studio, 2007
Acrylic on canvas