Parastoo Ahoon was born in 1980, Iran. She pursued an art study program in New York and got her Masters in Fine Arts at Boston University in Boston, 2013. She works with various materials and multiple types of media, such as sculptures, Installations, mixed media, videos, and performances. She encourages the viewer’s own thoughts and feelings. Parastoo has participated in several international art contests held in places like Iran (Tehran), Turkey (Antalya), India (Baroda), Spain (Seville), The US (New York), UK (London), China (Changsha) France (Clermont-Ferrand), Japan (Tokyo) and Italy (Venice). She also has shown her work in the galleries and art fairs In Tehran, Dubai among other cities. Before moving to the US, she worked with the city of Tehran and installed two Pieces in the urban space of the city. Also, she was member of the exhibitions committee of the Iranian Sculpture Association from 2008 to 2011. Her recent works has been shown at the Venice Biennial and Athens Biennials on 2016. Parastoo’s work has also been widely shown internationally and is held on multiple collections. She is now living and working in New York City.
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The Book of History
The Book of History: 6000 BC to Present provokes both particular and universal themes. This piece has been inspired by Iranian Green Movement where hundreds of students got killed following a rebellion and a resistance to The Islamic Republic of Iran in order to claim their rights and their freedom. Thus, history once again repeated itself. Although dead these students remained alive through the body of history. The Book of History has no words, instead, each white page is covered with seven daggers (which refers to seven days a week) coming out towards the face of the reader, reminding the reader of this irony that history is this one subject through which the opposing universal forces and struggles come together: power and rebellion, war and peace, repression and resistance…
Let's Savor Earth/ Installation/ Material: Stone, Fiberglas and Paper
It ironically prompts the viewer to think of the wasting of our precious planet earth whether through creating war and destruction or over-consumption. In this piece, the planet is imagined like a melon where it has been sliced ready to be served. The slice is cut exactly from the part of the earth that for many years encountered destruction such as those of Middle East countries.
A Letter to my Motherland
In this piece, the artist living in diaspora chooses to write a letter to her Motherland. This is a personal letter and it is addressed to her motherland, Iran. After finishing the letter, the artist intentionally splits the wrap and woof, so, the letter keeps its secrecy and privacy. After all, it has been written to the Motherland. She is the only one who must read the letter. This quality of the work ironically provokes anyone who experienced diaspora to join the artist creating a collective experience where anyone can imagine this letter as her own.
Nakh Nama(Raggedy) / From the Memories Collection
Transforming tradition to the contemporary culture by these motives express stories about our culture and lives in different times of history. I have been influenced by our age worn heritage and re-created the worn out rug to show the political and cultural aspects that affect our society. The juxtaposition of the power and beauty of tradition with current destruction is done by ripping off in a minimal and simple shape on the different designs.
The Memories project are installation work pieces made with design on canvas, not as a base for painting but using the canvas with special attention and as a main material for three dimensional style of form. The idea is choosing old Persian carpets, architectural patens and the personal album photos to paint or print on canvas and ripping off part of the piece to make various geometric shapes and new forms, mostly breeds from my own Iranian socio-cultural interaction placing them to my present research and study base environment in the United States of America.