Latency
Mahshid Roshantabar
Thousands of clay spheres, big and small, are waiting to roll out like a flood at the moment
of the firing of a gun. The commotion of the free-falling and infinite sliding of these spheres
on the ground can even be heard before the fact, and it pulls the eyes towards the hidden
chaos in the order of these geometric shapes and seamless colors.
Following this order, the desire for repetition and creating certain elements drives
Roshantabar to constantly scrutinize and perceive the status of time. The importance of
process concerning the nature of the material in use and the multiple stages of work
needed to reach the final form of these pieces, also the daily physical toll, are all evidence
of how these seemingly frozen pieces are in fact integrated with the concept of time.
The artist plays with different combinations, and through trial and error with material and
form, reaches a final situation in her workshop that is imperative to realizing and giving
shape to her vision. And it seems that this 'situation' and this arduous and time-consuming
process, are often even prioritized over the final result.
Although the ceramic and glass used in her work make overt references to history and
nature, they do not carry any direct signs from the past, but just as clay vessels, they are
directly available and in constant conversation with the audience.
The desire to touch and feel these pieces, as well as to rotate them and change their form,
is the invitation for the audience to engage with them. Although In Roshantabar’s work the
fragility of clay is minimized through precision and attentive execution, there is still some
stress and commotion alive inside them. the unrest that comes from within the nature of
this material, and requires constant care and attendance.

Akram Ahmadi Tavana