Generatrix - Anne-Marie Oliver

March 8, 2021

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.

Whatever it is, the way you tell your story online can make all the difference. — Tannaz Farsi. Units of Movable Earth, 2017; 1,000 species tulips, soil, vinyl sacks. Installation view, Linfield Gallery, McMinnville, Oregon. Photo: Mario Gallucci.

Minh Nguyen: Tannaz Farsi’s Agents of Dispersal

January 29, 2018

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.

Interview - Tannaz Farsi in conversation with Kristan Kennedy

August 10, 2015

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.