Sara Shadabi

1980, Tehran,

My works translate the Real, desire, and the gaze into the language of the image. Within my visual world, the fragmented subject speaks through line, color, and shadow, a subject perpetually suspended between the two poles of darkness and light,  striving to experience itself.

Work

Featured Work

Sara Shadabi

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2018

Sara Shadabi

Nulla quis lorem
2018

Sara Shadabi

Nulla quis lorem
2018

Sara Shadabi

Nulla quis lorem
2018

Sara Shadabi

Nulla quis lorem
2018

Sara Shadabi

Nulla quis lorem
2018

art

Collections

Freedom Collection

This artwork uses a combination of oil<br />
and acrylic paint, enhanced by strong<br />
textures and gold leaf, to address the<br />
subject of pellet shootings at protesters<br />
in the "Woman, Life, Freedom"<br />
movement. The piece abstractly<br />
depicts a human figure adorned with<br />
golden lines and motifs. The curved<br />
lines and botanical designs emerging<br />
from the body symbolize life and<br />
growth, but here they are juxtaposed<br />
with a harsh and painful reality.<br />
The dark colors and shadows in the<br />
background evoke a sense of fear,<br />
insecurity, and pain. The use of golden<br />
motifs ironically highlights the value<br />
and beauty of life, which is marred by<br />
violence and oppression. The<br />
numerous small points, resembling<br />
pellets, scattered across the figure's<br />
body clearly signify the attacks and<br />
brutality faced by the protesters.<br />
This piece masterfully illustrates the<br />
contrasts between life and death,<br />
beauty and violence, and hope and<br />
despair, inviting the viewer to reflect on<br />
the social and human condition.<br />

Eyes of Society

This artwork portrays a woman with<br />
golden hair that artistically and<br />
abstractly extends down to form the<br />
map of Iran. The use of gold and black<br />
colors evokes a sense of grandeur and<br />
power, symbolizing the profound and<br />
influential connection between women<br />
and the history and culture of Iran. The<br />
curved lines and strong textures<br />
illustrate movement and flow within the<br />
piece, conveying a sense of unity and<br />
interconnectedness between the<br />
woman and the land.<br />
The name "Golden Roots" aptly reflects<br />
the deep and valuable connection of<br />
women to the history and culture of<br />
Iran, highlighting the inherent beauty<br />
and significance of this bond.

Silent Pressure

My artistic practice is rooted in the silence of subjectivity, approached through a psychoanalytic lens.

It emerges at the intersection of the Real, desire, and the gaze—where meaning reaches its limit and falls silent. For years, I attempted to communicate complex concepts from psychoanalysis, psychology, philosophy, and the social sciences through language alone, often encountering its insufficiency. This impasse led me toward visual art as an alternative space of articulation: a space in which psychic structures can be translated into form, and where that which resists symbolization may appear through image, texture, and gesture.

In my work, the subject is never whole. It appears fragmented, displaced, and in continuous negotiation with itself. Line, color, and shadow function not merely as aesthetic elements, but as symbolic traces of psychic tension. They articulate a subject suspended between visibility and concealment, expression and silence.

Recurring motifs in my practice—fragmented bodies, eyes, lines of escape, and restrained movement—reflect a subject entangled within social and symbolic constraints. I work with a wide range of materials, from scrap paper and wire to sculptural paste and plaster, allowing the image to oscillate between drawing and relief. The figures inhabit a suspended state between darkness and light, evoking tensions between repression and desire, submission and resistance. Rather than offering resolution, my works insist on remaining within this suspension.

Materiality plays a central role in my process. Texture, layering, and physical protrusions are employed to evoke the presence of the Real—that which disrupts coherence and exceeds representation. Through these material interventions, the body and its affective weight re-enter the visual field, not as narrative illustration, but as lived experience.

Ultimately, my work seeks to construct a visual language through which the fragmented subject can speak. It is an attempt to give form to what is often silenced: the psychic struggle of becoming, the desire to encounter oneself, and the effort to experience subjectivity within a fractured social reality