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Sara Rahbar
 
 
About the Artist

Sara Rahbar was born in Tehran in 1976, but both the revolution in Iran and the start of the Iran Iraq war caused her to flee her birthplace. This distance, this proximity is developed by the artist, based on memory, longing and inertia in inhabiting tensions of dual disjuncture. Rahbar studied in London and New York, and now spends most of her productive life between Tehran and New York. In this going back and forth, an apocalyptic memory has been revised in her reworking of traditional materials into proto-contemporary textiles and textures of national belonging.

Rahbar has been a teaching artist, an art director, a film Photographer and a Production coordinator for various films and documentaries. She has also been a freelance photographer in Iran for several years. Her work has been shown in galleries and museums worldwide and reviewed and praised in a multitude of prominent publications. Rahbar’s work has been featured on book covers, album covers and film festival posters. Her work has also been used for several educational programs such as; at The Queens Museum of Art Rahbar’s work was used for art therapy workshops for severely disabled children, as well as for Rikers Island Educational workshops. And the organization START, which uses art as a means to heal, educate and empower the younger generation in disadvantaged areas in the Middle East has also used Rahbar’s work in their various programs.

In one of her recent statements, she states, “Our foundations lay, but our houses have burned to the ground. Building castles in the sky, for a species that cannot fly, brick by limb we tear it down. Thinking that we are moving forwards, yet moving backwards all along. Gajar woman and golden toys, we wait for dawn.” Even within this contemporary evocation, across borders and palpitating with barbarism, her constant vigilance regarding the fallen past and an unrealized future remain the means of her economic reality and her imagination. The global neighborhood, she inhabits, where disenfranchisement through plight and flight are becoming important, offer fragments by which we understand the configurations of the US version of free trade and democracy

 
Click to enlarge images
(if larger image has been loaded)
 

Flag #1

2005
Textile/mixed media
60x35 inches

Cycles, Flag#7

2007
Textile/mixed media
60x30 inches

Flag #5

2007
Textile/mixed media
65x35 inches

After You

2007
photography
40 x 26.5 cm

After You
A series of 24

After You

2007
photography
40 x 26.5 cm

A series of 24

After You

2007
photography
40 x 26.5 cm

After You
A series of 24

Living underneath your blood filled skies, Flag# 9

2007
Textile/mixed media
65x35 inches

Flag #10

2008
Textile /mixed media
65x35 inches

Love Arrived And How Red

2008
photography
60x45 & 30x22 (inches)

A series of 11 An edition of 6

You Are Safe Here With Me

2008
photography
60x45 & 30x22 (inches)

A series of 14 An edition of 6

Did you see what love did to us once again, flag #32

2008
Textile /mixed media
73x47 inches

Did you see what love did to us once again, flag #32

Love Arrived And How Red

2008
photography
60x45 & 30x22 (inches)

Love Arrived And How Red
A series of 11 An edition of 6

Love Arrived And How Red

2008
photography
60x45 & 30x22 (inches)

Love Arrived And How Red
A series of 11 An edition of 6

You Are Safe Here With Me

2008
photography
60x45 & 30x22 (inches)

A series of 14 An edition of 6

Memories without Recollection,Flag#19

2008
Textile /mixed media
80x46 inches


Remembering and forgetting you, over and over again,Flag #23

2008
Textile /mixed media
64x34 inches

Vahed (the one), Flag#35

2008
Textile /mixed media
71x47 inches

Love Arrived And How Red

2008
photography
60x45 & 30x22 (inches)

Love Arrived And How Red
A series of 11 An edition of 6

You Are Safe Here With Me, Flag#14

2008
Textile/mixed media
13.5x8 feet

Tomorrow we will fall in love all over again, Flag #36

2008
Textile/mixed media
94x55 inches

 
Website:  www.sararahbar.com
 
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