From series II , 2017.
Inks and rain water on stone paper.

Falling Gracefully into the Sea

Reinforced concrete
4m x 4m

Photo: @kyriakos_achilleos

Gate

"you can't buy this painting with your money
your money doesn't exist
neither does this painting"

you can't buy this painting with your money 

Project Mahin is a crypto art project that showcases 60 unique tokenized illustrations. Each artwork represents a pair of breasts and indicates an alternative version after surgery. The art lovers will not only purchase the unique NFTs but also contribute to a good cause. The profit of the purchase price of these 60 illustrations will go to Breast Cancer Now, the premier breast cancer charity in the UK. These NFTs are autonomous and can change randomly. Each NFT has a 13% chance of being diagnosed with breast cancer. This number is precisely similar to the average risk of a woman developing breast cancer sometime in her life. 

Generally, the creators or the owners trigger the change in NFTs, but Project Mahin is entirely autonomous. It's tamper-proof, and no one can manipulate it. The NFTs by Armaghan Fatemi generate their own changes randomly.

Project Mahin will run for the next five years, and illustrations can randomly change within this period. The artwork will exist on the blockchain forever, but the random changes will gradually slow down after five years. 



Project Mahin

Fragment is a 60x60cm acrylic painting.

​The '36 Series' is an ongoing painted exploration into a geometric grid of 36, which are varying in both size and material. The series examines the idea of 'Lusus Naturae/Sport' within realms of geometry. Each possible outcome is explored within the grid until one emerges as unique and becomes a part of the series.

Fragment

El Vestíbulo

Smoker II

2020 | Oil paint on canvas | 18.75 in x 30 in

The Affair

50 x 70cm, Pastel on Paper

I began this series of drawings during the second lockdown of 2020. The goal of the series was to express some of my emotions that I've felt over the course of the pandemic. 

One of the challenges for this series was that I had a very limited access to models due to the lockdown. As a result, it was necessary to use myself to model the figures, but this became a source of inspiration, and led to me basing the series off of my own feelings from this year.

The series looks primarily at anxiety, but this drawing in particular focuses on feelings of  judgement, helplessness and isolation. Judgement from people with differing opinions, helplessness due to being unable to protect vulnerable family members, and isolation which I've felt for most of my life, but has been reinforced this year. 

The drawing was created using a range of black and white pastels, on PastelMat paper. I choose to draw in greytone to emphasise the values, creating dramatic lighting and a deep atmosphere. The resulting image is realistic, yet expressive. 


Millstone Figures I

In Absentia

The painting reflects the changing relationship beween man and world. It testified to the existential questions.


Tabula rasa

857 plastic bags, 140 x 40cm, 2021

This piece was made during the height of the pandemic and in the aftermath of the devastating Australian bushfires in 2019/2020. It was hard not to adopt an apocalyptic mindset, it still is, yet when chaos integrates itself into the everyday, I find piece knowing my existence is but a fleeting moment on an infinite timeline. 

As one concerned with loss and extinction I can only relinquish to the thought that this is nature, I am , my thoughts are , my smartphone is, just as plastic is too. Does life cease to exist when I do? No, of course we know that, it simply passes by. Just the same as nature, it never ceases. There is no doubt that plastic will become and perhaps already is a time stamp on earths geology, a slither of time buried beneath infinite saplings.

Momentum

Part of the installation called "Practices in sadness".
I try to sum up the experiences of mental struggles and self-isolation with artistic work. Not to be confused with art therapy.

Frosting

Now is not the time 

SOCIAL DISTANCE / 2020
BRONZE /
SIZE / 30CM

Ganz aktuell, aber auch wieder zeitlos. Ähnlich wie bei No Exit.
Ich grenze mich ab, bin nachdenklich, konzentriert und isoliert.
Was kommt?....

Very current, but also timeless again. Similar to No Exit.
I set myself apart, I am thoughtful, focused and isolated.
What's coming?....



Social Distance

A literally surreal take on life under lockdown, how staying at home for months on end has made me feel like a suburban housewife as I anxiously watch the world go by via electronic screens. But both I and my alter ego hold on to hope for the future via a single red rose. From a series of pandemic postcard studies. Collage on panel, 10 x 15 cm

Should I Believe That I’ve Been Stricken?

Watercolor on cold pressed gsm 300, 28 in x 20, 2021

I see my work as an intersection of ecology, femininity and spirituality.  My body of work explores the connection of society’s view of femininity and the mirrored way we treat our earth. My paintings imagine what the reversal of this might look like.  

I want to portray femininity without restriction, a femininity from the female gaze.  From a young age women are taught to evaluate ourselves from the other’s perspective, rather than grounding in how we feel within our bodies. I want to create pieces that originate within this sense of grounding, in order to reconnect with our inner selves, and experiencing a sense of homecoming to our bodies as our primal home.  I hope to reclaim and celebrate the female form from the female perspective, in all of it’s varieties and shapes, as inherently luxurious, spacious, and unique.    

I use my own photography or photos that women share with me, and manipulating scale as a method to cultivate possibility in the viewer’s imagination. Portraying our soft mammal bodies in unusual natural elements, I aim to highlight our physical belonging on this planet.  As humans our natural habitats are wild places, which are rapidly diminishing. I hope to create work that portrays humans as being part of the ecosystem, to show that not only do we need to preserve the natural world for the sake of animals, but also for ourselves in order to be fully human and integrated.  Pushing back against anthropocentrism, my paintings explore how to inhabit this earth with greater consciousness and humility.  

My work is a declaration of coming home to yourself, reclaiming your bodies and this earth as home, and to participate in preserving our abundant and diverse habitats. 



Murex Rosa

"We all live in a world strikingly similar to the original, in which everything is duplicated according to a script – Simulacrum" said Jean Baudrillard. To live in this world, people do not have to look at each other; why if we have screens? Do not have to touch each other, if we have mannequins in shop windows. People do not walk anymore, but instead make a recurrent jog, bringing the physiology in line with what the advertising brochure told them about.  If Baudrillard is right, then we are made up of Simulacrum and without realising it we are becoming a copy of the "perfect human" from the advertisement. This should give our lives a sense and elevate us in the eyes of others.

MEME 0110

Cetge toile est un souvenir, une vision de beauté me restant après une crise d'épilepsie.
J'avais l'impression de mourir et je vivais intensément ce moment dans l stase des merveilles.

The wonder stasis

A young boy looks bashfully at the viewer, wielding a plastic toy gun with both hands. Superimposed on the image is the schematic of an actual revolver. The title of the piece, "Where have all the Fathers gone?", alludes to the lack of adult role models who might aid him in reaching adulthood, setting aside his toys for adult instruments. The fact that the instrument in question if a weapon raises the issue of whether this is a male adulthood that the boy should be pursuing. 

2010
Acrylic and solvent transfer on canvas
70 x 77cms


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