By: Roshanak Keyghobadi | November 22, 2013
“We lay aside letters never to read them again, and at last destroy them out of discretion, and so disappears the most beautiful, the most immediate breath of life, irrecoverably for ourselves and for others.”
In her recent exhibition at Shirin Gallery NY[i], Shadi Yousefian has created a visual narrative of recovering her personal letters and restoring what was destined to be lost.
Yousefian moved to the United States in 1995 when she was sixteen and until 1997 kept up a constant correspondence through handwritten letters with her family members and close friends. Ten years later she re-examined thick packages of letters that she had affectionately stored and realized that many of the events and details of the letters were not familiar to her anymore. She recalls: “The content of my correspondence were so deeply layered within hundreds of overlapping pages that their temporality remains an unordered flow- I could not remember what happened when, even as my own sense of identity and belonging has, in part, taken form through in the affective exchange.”
Yousefian’s act of recovery started when she reformatted the contents and form of the letters and gave a new life to them. By redacting, cutting, staining, gluing, nailing, and punching holes, she developed a ritualistic process which assigned a new meaning to her accumulated personal documents. To understand this process one must not only view all works on display in relationship to each other and experience the whole gestalt but also search for connections and meanings of each work within itself.
In her first attempts Yousefian cautiously deconstructed the letters by punching, cutting and nailing photocopies and later with more confidence she used the actual letters, still hesitant to interrupt their content, words and sentences. Gradually she detached herself from the content and concentrated on form. Long strips of paper glued on top of each other become small squares or circles meticulously nailed and positioned in grids.
Yousefian chose to start working on the letters of family and friends first and later she moved on to her own letters[ii]. She explains the emotional and aesthetic divide between her own letters and the other letters: “Where my friends’ letters were mostly impassioned and joyful, my own reflected the sadness and strain of my early years in the United States. I manifested this melancholic distance by presenting my own letters bare and unstained, where I animated those from friends by staining their pages with the wine and tea we once shared.”
It seems that Yousefian has tried to give the emotional voices of the letters a unified and rational form in order to sort out her own feelings and thoughts about them. For example in Untitled (above images), nails hold down fragments of letters that are cut in shape of small squares. Each squared specimen reveals a portion of a larger written content. In different handwritings, legible or illegible, rushed or controlled, pieces of various emotions are on display and the viewers can verbally and visually connect them together: “Hello…I am writing…I remember…congratulations…night…kiss…call me…joy…1377…try…I hope…life…photo…I laughed…I am sure…gradually…think…help…talk…”
Within this cohesive composition there is a tension between the materials and content. Colors of the papers, untouched or stained, are in natural tones of green, blue, sienna, ivory and white which are tranquil and quite yet they seem to move on the surface of the piece. Although the organic handwritten lines of letters are interrupted by cutting and pining and then neatly positioned in a mechanical grid, each square preserves its character and holds one or few words, which transfer a message or trigger a feeling.
Rows and rows of nine hundred nails compose a visual sound. One can imagine the loud and repetitive action which can also be meditative and centering when Yousefian was hammering them down. This rhythm also flows in the colors, shapes and patterns that are reminiscent of traditional Iranian tile and brick works in Shiraz and Isfahan.
In her exhibition Shadi Yousefian shares her thoughts and creative process by walking us through her rituals of realization (finding and re-reading the letters), selection (choosing specific parts of the letters), detachment (cutting the letters), manipulation (making something new with the letters), and reflection (re-examining the letters in a new format). She explains: “… ‘Letters,’ effects an intimate, indexical relation between my past and present; and shapes the intangible mesh of lives entwined across a distance into an architecture of lived experiences.”
©Roshanak Keyghobadi, 2013
Above images. Shadi Yousefian, Untitled, 2011, 48 in x 48 in, Mixed Media. (Full image and detail)
Also see http://www.shadiyousefian.com