Drawing on the Persian tradition of miniature and ornament, the works are filled with intricate detail and brilliantly colored patterns, obsessively meticulous in their regularity and multiplication of form. Printed tightly within a grid, the rhythmic designs mingle like the patterns of a kaleidoscope, captivating with their dazzling symmetries and the implied harmonious order. Yet the harmless beauty of the ornament is disrupted when we recognize that these patterns are composed of instruments of torture or masculine genitals.
Forouhar often combines visual elements of Islamic arts with Western references, introducing jarring contrasts and contradictions within a singe work and inviting ambiguities that fragment the cohesiveness of hegemonic narratives. Joanna Inglot
Red is My Name, Green is My Name III, 2016
Series of 4 digital drawings, digital print on Photo Rag, all 80X80 cm
Im Zeichen des Ornaments, Kunsthalle Goeppingen, 2018
Reimaging the Illusion, Pi Artworks London, 2016
Red is My Name, Green is My Name II, 2009
Series of 4 digital drawings, digital print on Photo Rag, all 50X50 cm
He Kiels Me, He Kiels Me Not, City Galerie of Neunkirchen, 2013
Red is My Name, Green is My Name – Karree, 2008
Series of 4 digital drawings, digital print on Photo Rag, all 80X80 cm
The Power of Ornament, Blvedere Museum, Vienna, 2009
Red is My Name, Green is My Name I, 2007
A series of 8 digital drawings, digital print on Photo Rag, all 40X40 cm
Ornament and Crime, Law Warshaw Gallery of Macalester College, St. Paul, 2013
