2018

We had firstly met Seddigh’s timeless and space-less figures in her first exhibition “Crossbreeds (2013)”. With her second solo show, “The Mole Cricket and The Night Guard Are Awake (2016)”, the artist’s form of expression has been diversified by adding experimental styles such as video installations, sculpture and an artist book to her existing technique. This time, her third solo show brings together a wide range of materials including glass, metal, ceramics, photographs, canvas and printed texts that represent Seddigh’s way of thinking and her newly developed skills in different methods. This time, the transition between the mechanic and organic which we see in Seddigh’s paintings are confronted with linear and new, detailed forms. Furthermore, the ceramic forms that emerged in her artistic practice turn into metal and glass sculptures; this process of transition makes suggestions to the viewer regarding the identity change and memory loss through the object’s memory. The lines written by the artist regarding her personal experience and sections from her production process, are being printed on different materials such as stone, cotton and embossing which try to create a new form of expression between the material and the thinking process of Seddigh while being transformed into original prints. While Seddigh’s “fictional individual” who’s metaphorically heavy as an elephant sleeps behind her/his fragile window, the personal experience behind every single work and the subconscious of the artist suggest questions that the viewers can relate to themselves individually.