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Natural pigment, watercolour, shell gold, mother of pearl, freshwater pearl, thread, glass beads, lapis lazuli, hair, gold pins, and handmade hemp paper set into Sapele
Laila Tara H’s work Exit, 2023 was painted with traditional Persian miniature technique with a single haired brush and slow layering. Historically, Persian miniatures were part of manuscripts and would...
Laila Tara H’s work Exit, 2023 was painted with traditional Persian miniature technique with a single haired brush and slow layering. Historically, Persian miniatures were part of manuscripts and would sit beside writing. Most often, these manuscripts were produced by schools of painters under the patronage of kings. These manuscripts often told stories of these kings’ moral reign/political success. Exit, 2023 is an example of Tara H’s drive to observe the governing power from the opposite side, looking upwards/across and making judgement. Exit, 2023 is part of a larger and ongoing body of work playing out political/social control from the eye-line of a domestic space.
The faces on the pillow-shaped hemp paper are all in profile to avoid any sense of individuality. These profile faces are all in movement; they seem to be walking or marching. The wooden frame that encases the piece acknowledges that all these observations are happening in the house. The frame reminds the viewer of domestic objects like cupboards and tables. Below the hemp paper pillow are 2 pairs of small golden hoops with knotted hair beads (made of Tara H’s own hair) and Lapis Lazuli. Tara H explains that until the 20th century, in large swathes of the global south, gold and jewellery were the only financial assets women were able to own independently. These 2 pairs of earrings are similarly tied to ideas of autonomy and freedom. With hair knotted in, it serves as a show of unruly but aesthetic defiance in a state of masculine control.
The pearls and mother of pearl that adorn the hemp paper pillow point to irritation and visual compliance: freshwater pearls are produced by inserting sand into oysters, the oyster coats the sand to protect itself from the irritation, once it has transformed into a pearl, it is removed and sold. Tara H identifies with this process - she finds that this is an apt metaphor for “womanhood.” Tara H finds that this process reflects the commodification of discomfort in the west and the battleground/female body back home: it is social etiquette and blowdried hair, it is blowdried hair under a scarf pledging allegiance on tv, it is the obscenity of survival and propaganda.