10 Questions with Masoomeh Aftabi

Masoomeh Aftabi, born in 1991 in Rasht, Iran, embarked on her journey in the world of art at the University of Art in Tehran, specializing in rug and traditional design. In 2015, she moved from academia to professional rug design, marking the start of her career.
In 2015, Masoomeh ranked first in the 9th National Handmade Rug Olympiad's Design Section in Kerman, Iran. She continued her winning streak by securing the top spot at the Handmade Rug Festival's Design Section in Birjand, Iran.
In 2016, her patterns found their way onto the patina of ceilings and walls. The subsequent year, her unique designs were skillfully employed to enhance the aesthetics and identity of items in interior decoration.
A testament to her versatility, in 2017, Masoomeh delved into the realm of decorative art, creating stunning pieces that blended traditional Iranian motifs with the symmetric harmony of Mandala designs.
In 2018, after achieving her master's degree in Handicrafts, she concentrated on creating designs that were the embodiment of her unique artistic voice. After participating in several group exhibitions, in 2021 she held her first solo exhibition, titled "Dream of Trees".

@masoomeh_aftabi

ARTIST STATEMENT

Masoomeh’s first solo exhibition, “Dream of Trees,” showcased a stunning collection of artworks at the Baharak Galeria in Tehran, Iran, in March 2022. The exhibition was a tribute to the beauty and majesty of trees, with each piece embodying the artist’s unique perspective on traditional design. Within the first three days of the exhibition, all of the artworks were sold, garnering praise from notable designers Dr. Bijan Arbabi and Mr. Houshang Zare. Notably, four pieces from the collection were purchased by a collector from Germany, emphasizing the global appeal of Masoomeh’s artwork. Masoomeh’s captivating artworks fused traditional motifs with contemporary style, resulting in a truly mesmerizing display. “Dream of Trees” was an artistic triumph, leaving a lasting impression on all who viewed it and solidifying Masoomeh’s position as a rising star in the art world.

INTERVIEW

First of all, introduce yourself to our readers. Who is Masoomeh Aftabi in three words?

Creative, Passionate, Proactive

What is your background, and how did you start working with art? 

 I pursued my bachelor's degree in rug design and then went further to explore this niche by studying handicrafts for my master's. My thesis involved conducting intensive research on various kilim designs found in certain regions of Northwest Iran and Southeast Turkey. This gave me a deep understanding of the history, motifs, and diverse designs that are the signature to these areas.
My professional journey in the world of art began with rug design. I was deeply involved in creating unique and captivating designs for rugs for over six years. During this period, I had the privilege to work alongside some of the most renowned masters in the field from Iran, including Mr Zare. Among the many projects we collaborated on, one of the most notable was designing a 329-square-meter rug for the Imam Ali Mosque in Copenhagen, Denmark. This was an enriching experience that taught me a lot about cultural integration through art and design.
Parallel to my work in rug design, I also branched out into different artistic disciplines. I applied my knowledge and expertise to patina, a form of decorative finish for walls and ceilings, and to the customization of furniture. This broadened my perspective of the artistic world, providing me with other mediums to express my creativity. I believe that each of these experiences and explorations has enriched me as an artist and given me a versatile approach to art and design.

You started designing patterns for rugs. How does it influence your current art practice? 

My work in rug design was a valuable period of learning that has greatly shaped my current approach to art. Initially, I was drawn to the rich heritage of traditional Iranian design. The multitude of patterns and their varied history provided an opportunity to learn and grow. To better equip me for my professional journey, I delved into studies of different Iranian motifs from various historical periods.
An outcome of this period was the development of my own personal style, though it was more of a natural evolution rather than a conscious aim. It just happened as I kept working with the designs, absorbing the influences, and trying to put my own stamp on them.
One pattern that greatly influenced me was the "tree of dreams," a motif significant in several cultures, including Iran, India, and Egypt. It has been used in petroglyphs and rugs across history and is a universal symbol of life and eternity. This pattern has significantly influenced my recent collection, "Dream of Trees."
In this collection, I attempted to use motifs usually found in rug designs, applying them to my tree designs. This wasn't about creating something unique or groundbreaking but more about exploring how these traditional designs could be interpreted in a new context.
Overall, my time designing patterns for rugs was a period of absorbing and learning, and it's those learnings that continue to guide me in my current art practice. My work today is simply a continuation of that exploration as I try to understand and engage with these traditional patterns in new ways.

Your work seems to be highly influenced by traditional motifs and natural elements. What are your other sources of inspiration? 

As you rightly pointed out, traditional Iranian motifs and natural elements are primary sources of inspiration for my work. However, my art is not limited to traditional patterns. I endeavor to infuse these traditional motifs with my unique style, primarily using point-and-line techniques in my designs. I blend these patterns with framing techniques inspired by my perception of Iranian spaces, creating a fusion of old and new.
Besides these traditional elements, I also draw inspiration from everyday life from the world around me. The complexities of the modern world, its pace, and its many challenges often find their way into my art. They combine with traditional motifs, giving them new meanings and interpretations.
Through this approach, I strive to present traditional Iranian art in a contemporary context. I aim to show that our traditions and history can coexist and interact with our modern lives, creating a dialogue that enriches both. It is my way of celebrating our rich heritage while also engaging with the realities of the present.

You recently had your first exhibition, Dream of Trees, which was a great success. Can you tell us more about the concept of the exhibition? What does it represent for you? 

"Dream of Trees" was indeed a milestone in my artistic journey. Trees have always been a significant concept and source of inspiration for me. They resonate deeply with my understanding of life and its interconnectedness, and their symbolism across cultures and art forms has always intrigued me. Hence, I decided to base my first solo exhibition around the theme of trees.
The trees showcased in the exhibition were more than just subjects; they were expressions of my artistic journey and personal philosophy. Each piece served as a distilled representation of my background in art and design, showcasing the interweaving of traditional Iranian motifs with my own unique style.
Beyond their visual appeal, the trees represented my mindset towards nature. They were my way of exploring and expressing my relationship with the natural world, of translating my appreciation for its beauty and its intricate, interconnected systems into visual form. In essence, "Dream of Trees" was an encapsulation of my artistic journey, a reflection of my inspirations, and a testament to my connection with nature.

How did you develop the series for the exhibition?

Developing the series for the "Dream of Trees" exhibition required a detailed and methodical approach. It all started with numerous sketches for each piece. Initially, I concentrated on defining the overall form of the tree and its motifs. I began with broad strokes, focusing on the tree's shape, its branches, and the placement of the motifs.
Once the general outline was in place, I would transfer the sketch to the actual canvas. The next stage was bringing the trees to life by adding intricate details. This process was quite time-consuming as I carefully created shadows and details using a myriad of dots, a method that allows for greater precision and subtlety in the finished pieces. Each dot was a thought, a moment, which, when combined, created a bigger picture, breathing life into my designs.
After completing the main design of each tree, I would then introduce the trees to specific frames inspired by Iranian spaces. This process ensured that each tree was not just a stand-alone piece but was integrated into a larger context, a homage to my cultural roots.
In essence, the process involved a blend of preparation and improvisation, balancing between pre-defined motifs and spontaneous creativity. The journey from initial sketches to the finished canvas was filled with hours of dedication and an unwavering commitment to detail.

Is there anything else you would like to experiment with? 

As an artist, I'm always eager to explore new artistic endeavors. Currently, I'm interested in broadening my range of techniques and experimenting with different mediums. I believe that it's important to keep evolving and pushing boundaries in order to grow artistically.
Specifically, I'm keen to explore the world of color in greater depth. I've always been fascinated by the emotional resonance of different hues and how they can shape the perception of an artwork. While my previous works were primarily focused on the interplay of forms and motifs, I'm excited to see how the introduction of various colors can bring new dimensions to my pieces.
Ultimately, my goal is to continue expanding my artistic horizons while staying true to my roots and personal style. I believe that art is a journey of continuous learning and experimentation, and I'm excited to see where this journey takes me next.

What do you think of the art community and market? And how do you promote your work? 

The art community is a vibrant and dynamic space, constantly evolving and progressing. As part of this community, I strive to contribute by hosting various exhibitions and continually familiarizing myself with both past and contemporary artists.
However, it's worth noting that the current state-of-the-art market is somewhat double-edged. On the one hand, it's more accessible than ever before and offers incredible opportunities for artists to share their work with a global audience. On the other hand, there's a concerning trend where a significant portion of artistic creations are heavily influenced by current trends and customer appeal. In my opinion, art should serve as a conduit for the artist's deepest emotions and thoughts. It's this personal touch, the artist's individual imprint, that gives each piece its unique character and significance. It's essential not to lose sight of this amidst the pressure to conform to market demands.
In terms of promoting my work, I believe that authenticity resonates with people. So, I aim to stay true to my vision and communicate it effectively through my art. Engaging in art exhibitions and maintaining an active online presence also plays a crucial role. These platforms allow me to reach a wider audience and share the stories behind my work, which I believe are as important as the pieces themselves.

What are you working on now? Do you have any new projects or exhibitions you are looking forward to? 

At this moment, I am working on multiple single pieces, each capturing a unique facet of my artistic vision. Alongside these works-in-progress, I'm nurturing a variety of ideas that I've been musing on.
This exploration phase, although filled with the ambiguity of possibilities, is equally exciting. It entails extensive research, a multitude of sketches, and a deep dive into diverse themes. The end goal is to distill all of this raw material into a single subject that I can present as a comprehensive collection.
The process of selecting a theme from numerous potential ones is an arduous yet fulfilling journey, essentially molding my abstract thoughts into concrete forms of artistic expression. As I continue this journey, I look forward to discovering which theme will eventually stand out, paving the way for my next collection.

And lastly, what are your goals for 2023?

My primary objective for 2023 is to set the groundwork for my second solo exhibition. By the end of the year, I hope to have all the preliminary steps for executing the new collection completed. I'm really looking forward to the journey that lies ahead.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.