Virginity (2016) Photography by Diako Art

- how can I show women's live in its completeness when interdictions, suppression, restraints – partially threatening to use violence – prohibit this? When hair, body parts and other aspects of feminine expression have to remain hidden, untouched? The series of photos shown talks exactly about this question, this dilemma: what stays blanked out, what melts together with the veiling of these Madonna-like beautiful women faces into absolute darkness? Black, a statement for the political and psycho-social blindness as against women? Black, substitutional for the most secret desires, wishes and hopes obviously immanent in every human being? "Blind Spots" every viewer can substitute with his or her own inspiration? Black as invitation for hide-and- seek? With the aid of music and dance in a protected, light-flooded atmosphere, Razzaghi wants her protagonists to give up their usual, omnipresent self control, trace their inner self and appropriately express it via dance – no further guidelines are given by the photographer, nothing is staged. Within this work in progress some kind of catalytical energy of unconscious perception and conscious sensual percipience comes into existence. The stylistic device of blurriness, purposely selected by the artist, constitutes an interface between painting and photography.
The material dominantly covering the surface of these photographs is blue, rough, loud, stubborn, hard-wearing, destructive, outworn – and still globally prevalent. It lost its virginity long ago.
The topic "Women" won't let go of the photographer. She emphasises, however, that she is not only concerned with women of her home country and cultural area, but rather with women of the world. Their mostly forced on hide-and-seek games rouse Razzaghi's senses, are semen for her artwork.
Mojgan Razzaghi is a life-affirming inspired artist and she masters her photographical artisanry expertly. When the two baseline aspects of technical expertise and artistic expression meet, we call it a good picture. A good picture will always touch emotionally and therefore will remain in one's head beyond reckoning.
With her women portraits, I think, Razzaghi succeeded herein on all accounts. Mojgan, you told me – quote: "When I have touched a soul, then I was successful."
...in terms of this, dear Mojgan: I am very confident!
Maria Dorn (2016)

Related themes

WomenCultureBlueReligionIran