herbariums and glitter-soaked canvases, I traveled to meet the artist at Maison Auriolles. A crumbling chateau on the Lot River in Southwest France, there Zahedi has established a residency with other artists, musicians and a farmer who trains donkeys for use in organic agriculture.
ZAHEDI: The Rose of Jericho is a plant that is really linked to women. There are lots of legends around how she is related to women. She’s also used by women in medicinal ways. To enhance fertility, to cope with menstrual pain, and she’s also used during—ZAHEDI: Exactly. During my quest, I realized that there are three different plants called Rose de Jericho that are not living in the city of Jericho itself. They’re coming from different parts of the world.
DAVIES: It’s interesting that the work closes up when you’re not able to go. It’s functioning like the plant itself. When you’re able to put your feet on the sand in Jericho, then the project opens, it expands. You’re able to make this incredible film that we see downstairs amongst the green tile of the hammam, between the closed shower heads. But when you come back, the project is in hibernation. It’s a beautiful metaphor.
ZAHEDI: It’s more like “honey.” This was really the starting point of a reorientation of the entire project. Saqer’s portrait welcomes us to the exhibition because it is with Saqer that I am creating and writing the myth around the Rose. DAVIES: Fantastic. And they’re just beautiful as works, because you studied the technique of Persian miniature painting to make these. Where did you learn to do that?
DAVIES: It’s interesting that the Christian tradition says where her foot touched the earth, the Rose of Jericho blooms, and in the Islamic tradition, it’s where her hand touched the earth.
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