Emotional Intensity in Shirin Neshat's Black and White Photography, Speechless

In the monochrome photograph of Shirin Neshat, "There is nothing to say", and a half black hair veil is hanging on the face. Focusing on the proportion of face will give emotional strength to her melancholic look. It also brings intimate contact with the audience and reveals the truth by digging deeply into incomplete details. One eye obviously sees a clearly powerful and muscular appearance called "the mourning woman" theory, her desperate freedom repression and deep sorrow.

She sees the camera directly and seems to be deciding to fight. There was a motivation problem in the audience. Neshat's 1996 film "No Speech" is a black-and-white picture and Neshat chose to themselves the theme. This picture is closeup of Neshat's face. But she seems to be strong and strong - just as she created "rebellious silence" - her face is covered with Islamic texts. The Arab inscription that created the veil served as a barrier. It symbolizes the support of the Islamic Revolution. The visual struggle between Neshat and the veil is expression of freedom and support of religion. By placing text on her face, people can best discern the emotional part of the body. And it makes it possible for women to remind people of religious influence and oppression of free expression. A gun in a photo is another juxtaposition

Shirin Neshat, born in 1957 and currently living in New York City, is known for his moving photos and videos exploring the role of Iranian femininity. In many of her works she has chosen to create a dramatic image and incorporate elements from other Iranian female artists and writers. Most importantly, those who want to see her work tend to "get rid of some of the heavy political statements but actually stimulate them in the most exciting way" . As she is trying to capture the life of the legendary singer Omkulsum, the movie 'Looking for Omarum' will focus on the plight of Iranian female filmmakers.

In TEDx address, Iranian artist Shirin Neshat said, "All Iranian artists are participating in some form of politics, politics defining our lives." Under Western Eyes also includes a visual language to clarify the identity of a woman in Iran, but since Islamic women are far away, repressive and ambiguous, representatives of Muslim women It criticizes. However, Afshar said that the desire to do so was to raise the awareness that "(self) expression depends, and thus" other "signs familiar to Western audiences are reproduced" Told. The art market demand for 'Islamic' art emphasizes cultural differences in a safe and predictable way. "