Here the potentials of Persian calligraphy, especially those of nasta’liq script, have been applied to create forms in a way being reminiscent of urban warning signs. Using the logographic potentials of writing, the artist alludes to a sort of domineering spirituality having been imposed upon her through such kind of art.
Today the propagation of graphic icons indicates the revival of logograms and pictograms not restricted to any particular language, and they carry a universal meaning. The iconic forms in this collection speak ironically to the internal relation of writing and authority. Although such a relation enjoys a long-standing tradition in the history of writing, it has adopted other manifestations with the advent of Islamic government. This long concrete poem is the travel account of Khāleh-ghezi from Tehran to Jerusalem on God’s order. It is the story of her falling in love, the state of being misled on the way, being punished and thrown into dark chaos. Meanwhile some references have been made to the story of “The Parrot and the Merchant” from the Rumi’s Masnavi. Some parts of this poem were published in 2017 in Tootimag E-magazine with some notes by Anima Ehtiat, and performed in 2018, in one of the Kalameh-haye Baraka series of conferences in Tehran.