Analysis Of Shirin Neshat

1478 Words6 Pages
Shirin Neshat is a multi versatile Iranian artist and filmmaker. Her artistic works cover the fields of photography, video and sound installations, and film. However, she is mostly known and highly regarded for her video work. More importantly, I want to investigate the purpose behind the implementation of sound in her video installations and its importance. Specifically Turbulent (1998), Rapture (1999), and Soliloquy (1999). As she’s stated repeatedly, sound is always a very important part of her videos. In some instances of her videos, the sound aspect has a deeper and more conceptual value than the visual itself, meaning that perfecting this part of her video pieces is of huge significance for her. To acquire a deeper and more intimate understanding of Shirin Neshat's mind, let's take a quick look at her start as an artist. Neshat comes from the religious town of Qazvin in north-western Iran and is the fourth of five children from wealthy parents. Her father was an important influence as a teenager. She has stated about her father in an interview with The Guardian, “He fantasized about the west, romanticized the west, and slowly rejected all of his own values; both my parents did. What happened, I think, was that their identity slowly dissolved, they exchanged it for comfort. It served their class” (Mackenzie). She was highly encouraged by her father to be an individual and take risks, and he sent her, as well as her brothers and sisters, to college to obtain their higher education. Neshat left Iran to study art in Los Angeles at about the same time the Iranian Revolution occurred. In 1990, she returned to Iran. “I didn't return until 1990. so as you can imagine the culture had undergone a drastic transformation. 1, like ma... ... middle of paper ... ...ifferent visual concepts and musical composers, recently Phillip Glass. There is one thing for certain, music still becomes a primary component of her work. Take for example the words of Paola Ferreiro speaking about Neshat's recent work Zarin (2005), “There is practically no dialogue in the video. With the omission of voice, dramatic acting and soundtrack become the communication devices for the narrative. The lack of dialogue gives the viewer interpretative freedom, especially if they are ignorant of the original inspirational text.” (Ferrairo) I will undoubtedly keep Turbulent, Rapture, and Soliloquy close to my heart, as they are her most powerful works of art due to the fact that the sounds drive the entire emotional interpretation of the pieces. However, it is just as intriguing analyzing how Shirin Neshat takes these initial characteristics and evolves them.

More about Analysis Of Shirin Neshat

Open Document