Photography and Identity - Shirin Neshat

Research using web sources

Some aspects of our identity, gender, social status, appearance, religious beliefs, nationality, can be voluntary changed; some, such as race and certain disabilities, remain with us thorough our lives, however our age changes our identity involuntary. Our background, life experiences and interaction with others influence us about how we see ourselves, how we behave and whether at any point in our life we choose to change any of our personal identification.

There are many excellent photographers who deal with issues regarding identity but during my research I’ve become particularly interested in Shirin Neshat’s photography.

Shirin Neshat, Iranian visual artist, was born in 1957, and has lived in New York since the age of 17. Although she lives and works in the United States, her artwork is deeply rooted in her background, her historic culture and exploration of Islam and gender relations. Her work “addresses political, sociological, psychological and spiritual dimensions; particularly in relation to an Islamic woman's point of view and much more”.

www.heyokamagazine.com

Interview with John LeKay

accessed on 18 February 2012

Her series of ‘Women of Allah’ (1993-97) is arresting black and white pictures of armed, veiled women, their skins covered with handwritten Farsi poetry.

“The contrast between the calligraphic text on women’s bodies and the prohibition on speech is often suggested by titles. In "Speechless" the barrel of a gun peeps out from between a head-cloth and a woman’s beautiful face laced with calligraphy, and in "Rebellious Silence" the cold steel of a weapon parts a woman’s face and dark body into light and shade. The clothing and weapons suggest both women’s defence of Allah in the revolution, and their defence of privacy and chastity in daily life.”

www.culturebase.net

accessed on 18 February 2012

Shirin Neshat: Speechless 1996
pen and ink over gelatine silver print
Artnet

Shirin Neshet: Rebellious Silence 1994
Gladstone Gallery

Looking at more of her photos from this series, there is something haunting in these women's sensually or sorrowfully gazing eyes, also mute and concealed feminity. The body languages  imply power and an almost tangible energy.

A beautiful selection of Shirin Neshat's images

While Shirin Neshat’s main focuses are womanhood and Islam, looking at her photography, video installation and film, I felt her circumstances of living in a Western society has influenced her views and photography.

In an interview she said: “…my work investigates social and political issues of Iran”, “…the work is made from the perspective of an Iranian living abroad, therefore it bears an exilic point of view”.

www.heyokamagazine.com

Interview with John LeKay

accessed on 18 February 2012

Thinking more about these lines raised many questions and I am intrigued. Since also an immigrant myself, I am time to time faced with similar questions about my new identity and interest.

Would her body of work be different if she still lived in Iran?

What makes an artist's, or in fact any immigrant’s, work and views remaining this strongly influenced by her roots?

What influences us more? Our upbringing in the past or our interactions and new experiences in our new residency is what makes us focusing on certain issues in life?

Is this focus different if we move by our choice or if we are relocated involuntary and by force?

Does this strongly remained connection depend on what our country of origin is and our memories about our motherland? Similarly, does it depend on the present situation of the country we left and the country we presently are?