Tehran was a direct photographing of my scattered and irregular world and environment. I could not unite these photos in a logical way or by a narrative. They were merely images of nature, city, home and still life. Their meanings mostly were based on my writings and memories and quotations of others. Gradually I tried to reject “form” in my works. For this reason I entered unconsciously into “appropriation”. Thus I photographed the pages of “books”. These pages refer to present situation of Iran or to forgotten and censored things. I named these works “Photo/Text”.
“Photo/Text” works are created based on a very simple definition of photography; to photograph an arbitrary subject which can simply be a text These works comprise different text excerpts from a number of prominent books and writers from Iran and all over the world the content of which is in some manner related to Iran’s situation. The works encompass a kind of mutual alteration from the photo to the text and vice versa. On the other hand these works can be seen as a kind of tribute and veneration to the word, the language and the sacred wisdom stemming from them. In fact viewing these works is concurrent with reading them. Such works have an unsought pertinence to a contemporary style of photography known as ‘appropriation’. The large format of these works, transforms the very absence of the subject embedded in to a presence extant in the photos. The texts are hence at the same time the form, the content and the interpretation of the work, and are on the other hand pictorial works which are ‘translatable’. Because of their removal from the original text (the book) and due to the presence of the word and language, they often take a critical aspect, since through photography a quicker, more direct and more clear relation is established between text, society, and external reality.