In her most recent series, “Biosis,” Raheleh Nooravar removes color, natural proportions, and functions from the most fundamental components of life and represents forms that express, above all, a constant desire to achieve a personal kind of aesthetic. Throughout her career, Raheleh has always been creating forms with a metaphorical and at times symbolic approach that immediately invoke the question of power and its hierarchy from a social and public point of view. In her new works, however, power is explored in a more
subjective context.
As Raheleh moves away from manmade forms toward the magnification of single-celled creatures hidden in nature, by inviting the audience to gain an insight into each one, she considers human power of adaptation instead of its social contexts. Now, however, with regards to its biological environment. Using multiplication and repetition in how the sculptures extend in the space as a dynamic installation,
which is inspired by nature, she insists on the possibility of regeneration in a more abstract and permanent fashion. To Raheleh, adaptation is not synonymous with being backed into a corner or admitting defeat. Indeed, she regards compromise and the struggle to survive as praiseworthy. Moreover, with an introverted mentality, she reconstructs the most social invisible creatures to celebrate life and hope.