In the latest exhibit located in the “Blue Galleries”, “Drawing the Sky: Artist as Witness” invites viewers to look closely at the world we live in and the different cultures that contribute to the world around us.
Kiana Honarmand and Stephen Aifegha challenge the boundaries of perception and storytelling through their art. Honarmand’s raw depiction of Iran politics and human rights as well as Aifegha’s vibrant commentary on social justice offer a compelling dialogue about the role of the artist as a witness to societal change.
Honarmand, originally from Iran, portrays the political movements in Iran after the death of Mahsa Amini, a 22-year-old Iranian woman killed by Iranian morality police for allegedly not wearing a hijab in accordance with government standards.
Her installation titled “A Shadow in the Depth of Light”, is a collection of locks of hair and bright red hands reaching for the sky, each with a name of Iranian citizens who became victims of political unrest.
“That project for me came out of this desperation of just wanting to talk about what’s happening and shed light on it,” Honarmand said. “The installation has all of these hands that each of them is displaying the name of one of the victims of the protest … I wanted to make sure their names are honored and remembered”
Honarmand shared that she felt helpless being far away from Iran during political unrest, specifically the Women, Life, Freedom movement that began in September 2022, and resulted in the arrest and death of hundreds of Iranian citizens.
“Being so far away, and I felt so powerless that I can’t do anything to help,” said Honarmand. “But I wanted to be able to at least talk about it through just this very small platform that I have as an artist. So I started making these hands.”
Stephen Aifegha, a mixed media contemporary artist created “Third World Africa” to depict a contemporary vision of Africa through found material such as newspaper and African fabrics.
“Third World Africa” is a collection of oil and acrylic portraits of people of Africa, often depicted looking directly at the viewer. These portraits invite viewers to look within the artwork, making eye contact with the subjects.
“They [newspapers] are used not only to create texture or as a substitute for paint, but they are also used to create social commentary …” said Aifegha. “I might intentionally put something that has as a political statement, because my works are more political, and then the fabrics are a way to show my identity as an African and as a form of esthetics for the works, both of them together, newspapers and African fabrics together, create a sense of dynamism.”
Aifegha uses his art as a means to create a discussion revolving around the American dream, and what it means to nurture an African identity in America.
“Why do people have to come here to seek jobs? … Why?” said Aifegha. “Because we are, we are all trying to find a greener pasture. And we see America. America is the place for that. We have been painted a picture by the media about the American dream.”
Aifegha creates an intimate moment between both the viewer and the subject, with dark paints on canvas and his subjects facing outwards, he calls the viewer to look back.
“Stories like my works basically revolve around cultural identity and the social political effects of post colonialism, reflecting the third world part of Africa,” Aifegha said.
Art is meant to both entice and confound viewers, both Honarmand and Aifegha invite viewers to look at the world around them and listen to differing cultures.
Both artists’ installations will be in the Blue Galleries, located at the Center for the Visual Arts on Boise State University’s campus until Oct. 30. Admission is free, all are welcome.