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been everywhere, seen everything series | anjii 2007 acrylic on linen 160 x 110 cm available on request -
bahar and leila 2007 acrylic on linen 150 x 100cm sold -
cocoon 2007 acrylic on linen 160 x 65cm sold -
golnar and yalda 2007 acrylic on linen 24 x 18 cm available -
studio garden paradise international art centre residency tehran iran -
butterfly 2007 acrylic on linen 140 x 90 cm available on request -
studio view art villa garikula akhalkalaki georgia -
exhibition view art villa garikula akhalkalaki georgia -
saloni 2007 acrylic on linen 100 x 75 cm sold -
day's to come 2007 acrylic on linen 60 x 90 cm sold -
summer day 2007 acrylic on linen 75 x 100 cm sold -
market 2007 acrylic on linen 90 x 60 cm available on request -
studio kanoria centre for arts ahmedabad india -
limei 2007 acrylic on linen 160 x 110 cm available on request -
ayushi 2007 acrylic on linen 160 x 110 cm sold -
yin 2007 acrylic on linen 160 x 110 cm sold -
waiting 2007 acrylic on linen 110 x 160 cm available -
waiting 2007 acrylic on linen 170 x 200 cm sold -
studio red gate residency beijing china -
exhibition view minerva art academy groningen netherlands -
studio view het tijdelijk verblijf rutten netherlands photo estera knaap
Been everywhere, seen everything
In 2007 I spent the year travelling extensively and participating in several artist residencies and called this project been everywhere, seen everything. I made these paintings during my residency at Art Villa Garikula in Akhalkalaki, Georgia, Paradise International Art Centre Residency in Tehran, Iran, at Kanoria Centre for Arts in Ahmedabad, India and at Red Gate Residency in Beijing, China. I have concluded my travels with a selection of my residency paintings in the catalogue been everywhere, seen everything and exhibitions under the same title.
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Residencies' report by Rolina Nell from Bulgaria / Georgia / Iran / India / China / Latvia - 2007 DutchCulture TransArtists
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The first mysterious, life-sized views of women’s backs originated during her travels through Georgia in 2007. The absence of the faces, the clothing and the pose all raise questions. Though very subtly and culturally specific, something of the personality still remains visible. Thus, even the black chador of an Iranian woman in the painting Cocoon reveals something of her identity, through the graceful style of painting.