Mahsa R. Fard often paints man-made large scale structures such as cities, stadiums, andapparatuses. She tends to create a new association by introducing unusual color and spatialrelationships. Growing up in Iran, she has always been conscious of the dominance of rigidpatriarchal gaze both in the public and private sphere.
Accessing public and private domains as a female requires subversive strategies. Her imageryreflects a woman’s forced duplicitous roles in these domains. Mahsa contemplates and practicesthese strategies in her painting and writing through metaphors of censorship, sarcasm, camouflage,cover, and disguise.
Mahsa has recently graduated from LeRoy E. Hoffberger School of Painting at the Maryland InstituteCollege of Art in Baltimore.
In her new series of drawings her work depicts figures in hijab, both as complete forms andsculptural busts. Fard sources aged paper from a variety of places from family sketch pads tostationary merchants throughout Tehran. These papers serve simultaneously the foundation onwhich her figurative works are drawn and the occultation between these figures and the viewingpublic.