The
deceptive surface of the ornament, which seemingly harmonizes all distinctions,
is a central theme in Forouhar’s art. On the fabric patterns in old rose making
up the series Eslimi, which means ornament, we find very carnal symbols:
the fine patterns reveal themselves to be stylised genitals, alternating with
sharp objects such as knives and pliers. With these fabrics, which the viewer
can flick through and select like from a pattern book in a furniture store, it
is certainly not possible to snugly furnish a home. Associations of an
erotically charged Orient are counteracted. Sexuality and violence mingle
together.
What emerge again and again in Forouhar’s works are a tension between apparently harmless surfaces and the actually represented figures. At a first glance, Forouhar uses the image of a fairytale-like, ornamentally beautiful Orient; but when we take a closer look, it is precisely these clichéd images she is undermining.
Alexandra Karentzos, Intersections, catalogue of the same named exhibition at the Jewish Museum of Australia, 2005
What emerge again and again in Forouhar’s works are a tension between apparently harmless surfaces and the actually represented figures. At a first glance, Forouhar uses the image of a fairytale-like, ornamentally beautiful Orient; but when we take a closer look, it is precisely these clichéd images she is undermining.
Alexandra Karentzos, Intersections, catalogue of the same named exhibition at the Jewish Museum of Australia, 2005
