NomineeMohsen Amini
Nominee Phone(989) 398-4293
Nominee EmailEmail hidden; Javascript is required.
Nominee AddressE7_Yas St.
Karaj, Alborz 3188747357
Iran
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Nominee Websitehttps://sites.google.com/view/aminiportfolio/home
Nominee Resume or CVMohsen-Amini.CV_.pdf
Additional Information 1Mohsen-Amini_Project-Magazine.pdf
Additional Information 2Mohsen-Amini_Culture-Ministry.pdf
Additional Information 3Mohsen-Amini_Publication.pdf
Work Sample 1Work Sample 1
Work Sample 2Work Sample 2
Work Sample 3Work Sample 3
Work Sample 4Work Sample 4
Work Sample 5Work Sample 5
Describe how the nominee fulfills the criteria for the IMPACT Award. Maximum 5000 characters.

I revise traditional Iranian micro-mosaic known as Khatam, as a metonym for diversity and multiplicity, contradictory within a context that often leans towards hegemony. I believe that doing something different with my ancestor’s heritage is a kind of political act, particularly with something that has a traditional dogma attached to it. Actually “Khatam” has the same dogma within my people. Likely 1000 years that it has been used to make pen boxes, holly book holders, mirror frames and royal furniture. My aim is to deploy it, import it in a new language system influenced by the “Queer Abstraction”. This approach is centered on the concepts of Borderland and Otherness, to share my statement about contemporary issues, mainly to point out the crucial need for cross-cultural understanding in our milieu. From this practice grows an awareness of symbolism and semiotics and how an understanding of borderland leads to an exploration and lucidity of the Other.
Assuming micro-mosaics of Khtam as micro-narratives in contact, my approach is to capture the essence of micro-narrativs, and to emphasize the contact zone out of center, make it concrete. Finally sharing a new language, language of borderland! In doing so, cross-culturally micro narrative confronts Meta narrative. This project aims to facilitate the expanded visual vocabulary that embraces micro-narratives.
My wish to create a new visual vocabulary, inspired by Homi Bhabha’s idea of "Hybridization" in the “Third space”, which describes the emergence of new cultural forms from multiculturalism in the third space. (Bhabha, 1994: 38) By grounding Khatam in the realm of micro-narratives and shifting the focus to the periphery, this project seeks to challenge conventional narratives and achieve a dynamic visual language that reflects Khatam’s complexity and richness.
I am confident that Khatam's inclusive and adaptable nature, make it an excellent medium for creativity. This Proposal aims to demonstrate the power of jewelry and small objects to critique, to negotiate, to warn and to foster connectedness in an increasingly interconnected world.
In my opinion, traditional crafts are not static; they evolve over time as societies change and adapt. This project allows for the recognition of both the traditional and contemporary aspects of crafts, appreciating how they respond to modern influences while maintaining their core cultural significance.
However, I have been using Khatam as body of my works for the past 8 years. For me, it possesses qualities that can form connection over boundaries and promote appreciation for diversity.
As mentioned, over the past eight years, I have been deploying and redeploying the traditional Khatam in various ways to reimagine its genealogies. I have categorized my findings into two sections. In the term of form, Khatam’s patterns consist of tiny geometric colorful tesserae reminiscent of abstract micro-mosaics. While in the case of material, Khatam is crafted from a combination of different substances such as wood, bone, brass and plastic. My redeployments have led me to extract three essential aspects of Khatam: firstly Diffraction of tiny Particles, secondly Visual Abstraction, and thirdly Material Multiplicity.
Drawing on methodological principles espoused by science & philosophy, I pursue Diffracting as a Queer tactic. To cite Donna Haraway, Diffraction is a narrative, graphic, psychological, spiritual, and political technology for making consequential meanings (Haraway, 1997: 16). I outline an approach to make abstract micro-mosaics that is guided by principles of Diffraction. The thing that fascinates me the most about Diffraction, apart from their unusual properties, is the similarities between physical diffraction and the way that geometric particles used in Islamic art and culture.
Consequently I have redefined Khatam’s so called pluralistic soul within the framework of “Queer Abstraction” to demonstrate its viability for contemporary queer movements. Draw out from one of my core utopian dreams that we might find ways to coexist in differences, I aspire for Khatam to be regarded as the new rainbow flag someday! I believe that Micro-mosaic serves as an excellent means of presenting more visual images than the only six colors, symbolizing diversity.

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