About

Aïda Vosoughi is an Iranian visual artist residing in Montreal since 2014. She obtained a B.A. in visual arts in Tehran, as well as a certificate in contemporary art history. She conceives her painting practice as being in close connection with ancient Middle Eastern culture and profoundly linked to its literature and traditional storytelling. Her artistic re-interpretation and novel conceptualisation of many of these classic stories allow her to revisit her native Persian culture in a contemporary manner. For some years the tales of Kalila and Dimna have, in particular, inspired her. In this famous collection of ancient fables, the stories are told by various animal protagonists. In fact, these narrations relate directly to human relations and the political realities of power. At first, she found these tales quite relevant to the current socio-political situation. Later on, what she retained was mainly the idea of power dynamics in a metaphorical world. Recreating these dynamics artistically in an indirect manner was what became central to her art practice. It is closely related to an in between the lines reading of literature commonly found in Middle Eastern classics. To this end, she notably integrates classical figurative approaches into contemporary conceptions of artwork. Her paintings often blur the frontier between to two.

Even after leaving Iran, Aida continued researching ancient Middle Eastern literature, discovering along the way its incredible potential to be used in contemporary contexts. She took inspiration from her new surroundings and culture. She also desired to study other dimensions of human relations, beyond the political, such as the interpersonal and the social. Her work became increasingly ironical and coloured by dark humour in her new country of adoption, Canada. She uses different techniques and materials to create her paintings and does not limit herself by following pre-established patterns or by creating uniformity of technique within a series. She recounts her story of displacement by recurring to the image of fragmented realities, multiplicity and the breakdown of totalities. Presently she is exploring the different potentialities of art in relation to the size of paintings. This experimentation allows her to discover the variation of meanings from very small to very big installations. Before and after her departure from Iran, she continuously illustrated for various journals as well as for a children’s book, which was published after she left the country. Currently, in addition to her various projects, she is exploring animation and moving images techniques.