A subversive twist on the one thousand and one nights, all of the works in A Thousend and One Days I-III show faceless figures enacting scenes of torture. In digital drawings, the silhouetted pink bodies that emerge from symmetrical yet irregular black patterns (reminiscent of Rorschach inkblot tests) are interlaced with but also strangled by the meandering elegant arabesque lines resembling the characters in Persian calligraphy. Yet, the stylistic and iconographic elements link these works to the Persian past, and the content alludes to abuses in contemporary Iran, the piles of naked bodies, blindfolds, and leashes also bring to mind images and accounts of violence and torture that circulated in the media after the revelations in 2004 of abuses at Abu Ghraib prison in Iraq and in other U.S.-run prisons in Afghanistan and Guantánamo Bay. Therefore the works show violence embedded in all structures of power. Joanna Inglot
A Thousend and One Days III, 2012
Part of the multi-media project Thousand and one Days, consisting of digital drawings, wallpaper,
balloon installation, flip books and animations; Marching Bands and Just a Minute
Series of 6 digital drawings, digital print on Photo Rag, all 55 X 35 cm
Ornament and Crime, Law Warshaw Gallery of Macalester College, St. Paul, 2013
Carte Blance to Nil Yalter, Galerist, Istanbul, 2015
Thousend and One Days II, 2009
Series of 5 digital drawings, digital print on Photo Rag, all 30X40 cm
Thousend and One Days - Panorama, 2006
Digital drawing, digital print on paper, 145X326 cm
Open Studio, Villa massimo, Rom, 2006
Thousend and One Days I, 2007
Series of 8 digital drawings, digital print on Photo Rag, all 30X42 cm
