Painting / Drawing
Installation
Painting / Drawing
Digital Art
313
314
315
316
Title:Echoes of a Decolonized Archive Link of Project: https://www.youtube.com/watch?v=MUVSN4xoPwU 2025
Beneath the Shell
Frank Zappa Was Not a Hippie
Nothing That Is Negative Is Simple
Echoes of a Decolonized Archive
Oil on canvas 100 × 100 × 7 cm
Steel, brass, leather and audiovisual system 300 × 300 × 400 cm
Charcoal, clay, paraffin, aluminium on paper, mounted on linen 40 × 60 × 3 cm
AI and VR technologies
2025
2025
2025
2025
This project revisits “Battle between the troops of Timur and the Mamluk troop Faraj” (15th c.) by Kamāl al - Dīn Behzād, a renowned Persian miniature depicti violence and warfare. In this re- reading, instruments of war are not erase d bu replaced with sound and musical expression. The battlefield becomes a stage fo of memory, healing, and resistance. This is a part of research of the decolonizatio using AI and XR as tools for imagining a polyphon ic history. I turn to the aestheti manuscripts, aiming to liberate them from their often static, mono - narrative colon Here, the work maintains the flattened geometry and stillness of miniature becomes animated—both visually and sonically— through algorithmic transforma
Sarah Hopper
onethousandandonenights2025 Sepideh Takshi
sansan_33zzcc Sansan Gong
Sarah Hopper is a London-based multimedia artist. Hopper works sculpturally with fabrication and readymades, creating modular installations that explore the spaces between imagined and lived experiences, memory, secrets, and trauma. Audio of collective testimonies or personal narratives is often incorporated, while repetition and rhythm examine human conditioning and notions of autonomy. Frank Zappa Was Not a Hippie presents a series of interviews. The work examines compliance, nationalism and the manipulation of citizens to conform and participate in the war machine, often against personal judgement or will. The current occupations of the participants as artists challenge stereotypes of those serving in the military. Sculptural arrangements of post- Second World War institutional chairs, separated yet connected and facing away from each other, embody the collective testimonies.
Sansan Gong’s practice explores the parallels between nature’s concealment and human identity construction. Drawing on leaf-mimicking insects, Gong creates anthropomorphic forms adorned with everyday objects that signify class, profession, and individuality. Through oil painting, these hybrid beings examine adaptation, expression, and survival within social ecosystems. Beneath the Shell explores parallels between natural camouflage and the construction of identity in human society. Leaf insects merge with their surroundings to survive, while humans adapt their outward image through clothing, objects and symbols to be accepted within groups. These allegorical beings question whether identity is genuine or shaped by environment, establishing a tension between hiding and expression that invites reconsideration of the individual’s place in the world.
Sepideh Takshi is an artist working at the intersection of technology and memory. Using AI, XR, and narrative design, she transforms decolonised archives into polyphonic digital spaces where storytelling, imagination, and resistance intertwine. This project revisits Battle between the Troops of Timur and the Mamluk Troops of al-Nasir Faraj (15th century) by Kamāl al-Dīn Behzād, a renowned Persian miniature depicting scenes of violence and warfare. In this re-reading, instruments of war are not erased but re-coded, replaced with sound and musical expression. The battlefield becomes a stage for multiple forms of memory, healing and resistance. This project forms part of research into the decolonisation of archives, using AI and XR as tools for imagining a polyphonic history.
Sass Popoli
sasspopoli
Sass Popoli is a London-based Iranian painter and poet whose practice encompasses painting, installation, publication, and performance. Nothing That Is Negative Is Simple is a drawing that reflects on the materials and forms of futures imagined as soft surfaces of archaeology. The work contemplates emotional and temporal perspectives, with a waxed bisque tile that both belongs to and resists a future archive.
454
455
Made with FlippingBook Online newsletter maker