Sara Sasani is an Iranian visual artist and professor in the field of sociology of art and photography. The focus of their portfolio is to represent everyday life, women, and environmental issues.

In the presented collection of photographs, Sasani strives to symbolically portray the sentiment that “there is nothing new under the sun,” as well as the cyclical nature of world events and individual human life. “We get repeated. In fact, we get multiplied…” the artist observes poetically. We cannot exist separate from world events, past or present. Yet it is difficult to live in harmony and compliance with often cruel results of politics unless we apply a certain level of disassociation. 

“In the last two decades, with the expansion of the Internet and the creation of wide and diverse platforms for content production and news dissemination, the news of bitter and unfortunate events has dominated us, and we become indifferent and cold towards them every day,” Sasani observes.

The artist symbolically attempts to reclaim that connection, awaken sensibility, and portray a unique point of view shaped by their culture, family, and geopolitical location of their homeland. Sasani’s powerful imagery and painting-like compositions convey a profound message: we are all wrapped in the same cloth of generational experiences, traumas, and collective memories.

All is intertwined, repeating itself all over the world. By admitting it, we are not required to renounce individualism and let ourselves be passively carried by the waves of global events. Quite the opposite, it is a path to ultimate freedom on many different levels. By adding our singular voices to the choir of millions of humans, citizens and artists, we create history and contribute to strengthening or breaking the cycle.

The Iranian photographer approaches generational topics by depicting the impact of sociological and historical contexts on family and gender, focusing particularly on how they influence vulnerable population groups.

The artist merges research and creative vision to showcase, in an innovative way, the profound effect that events like war can have on women, children, and the elderly. The compact, satinized imagery features ruined buildings enshrouded in silk. Yet, there is still life behind the exposed, eroded bricks; life continues to thrive inside, within the enclosed and protective shell of the walls, “unaware,” as the artist mentions, of the outside world.

Sasani’s visceral series serves as a reminder of the futility of historical events, choosing instead to focus on what lasts: legacy, art, and knowledge, while urging us never to forget the repetitive nature of history. “What is always expected of mankind is not to forget,” the photographer underlines, “and to remember what has happened to them throughout history and what has been repeated every time.”

Artist’s Note:

“In recent years, in my homeland, Iran, numerous social and political events have occurred that are part of the contemporary history of this country. Since we humans need to remember history and take action against forgetting, with this collection I aim to point out that history is important; contemporary history, knowing and remembering it, is important, and we should never forget what has happened to us, which itself will be the introduction to the historical future. As we are currently living in Iran, Tehran, amidst the history of wars and ceasefires.”