Farkhondeh Shahroudi's (1962, Iran) main inspiration for her artistic research is poetry. Whether it's automatic writing, deliberately slowed down by the choice to use her left hand in her work on paper, or Persian letters, just as slow because they are hand-stitched and illegible due to the overlapping of the graphic signs, she seeks to create, with language, a space of attraction for images, without any distinction between the bi-dimensionality of the poetic text and the tri-dimensionality of the sculpture. These are seemingly anthropomorphic creatures, in which anatomical anomalies, like an impairment and the proliferation of limbs or the mirrored doubling of a body, become the fulcrum of a dynamic trajectory, in the way that they take their position in space, next to animal and plant figures, suspended or staked to the earth. The stitches are the means to hold inside and at the same time exhibit an indefinable memory of a loss, scars, but also a primordial alphabet, the origins of a concrete writing that becomes one with the sculpture. And they become "sculptures" in all respects, these three-dimensional exclamations disseminated in the space (also stuffed and sewn), phonemes of astonishment that allude to the ground zero of poetry (and sculpture), where the sense of wonder reveals the creative process of the imagination and the overturning of contents and established symbolism.
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