DURING MY FIRST VISIT with Tannaz Farsi in her Eugene, Oregon, studio, I was immediately taken with the way her work straddles dual meanings. Often at once ambiguous and excruciatingly precise, Farsi’s art uses the personal, the autobiographical, and the experiential to point to larger socio- political moments. Through sculpture, printmaking, and text, she makes a series of poignant connections,
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Whatever it is, the way you tell your story online can make all the difference.
Generatrix by Anne-Marie Oliver
In this matter of the visible, everything is a trap, and in a strange way—as is very well shown by Maurice Merleau-Ponty in the title of one of the chapters of Le Visible et l’invisible—entrelacs (in-terlacing, intertwining). There is not a single one of the divisions, a single one of the double sides that the function of vision presents, that is not manifested to us as a labyrinth.
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Whatever it is, the way you tell your story online can make all the difference.
Minh Nguyen: Tannaz Farsi’s Agents of Dispersal →
Published January 16, 2018 in Art Practical
Inside Linfield Gallery, skyward-jutting tulips in sheer sacks of soil cluster together. Blur one’s eyes and the sight becomes strata of hues: the chocolate brown of mulch, the jewel green of leaves, the flowers’ loud carmine, fire-toned like a polluted sunrise. For the 2017 exhibition The Points of Departure at Linfield College in McMinnville, Oregon, Tannaz Farsi transplanted one thousand tulips indoors to bloom at the spring equinox, which marks Norouz, Iranian New Year.
Read MoreInterview - Tannaz Farsi in conversation with Kristan Kennedy
KK: What is spirit?
TF: I love that the Latin translation equals breath—an operation that is conscious and unconscious—availing us to be present or helping us bypass the moment. A type of echo between the seen, the felt, and the imagined.
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