Persia Beheshti
Persia Beheshti is an artist and filmmaker based in the US. She works in the realms of video and sculpture, employing digital softwares to excavate ancient mythologies and evolving narratives that delve into timeless themes. Beheshti’s work engages with mysticism and mythology, which she uses as poignant reflections on contemporary society.
The first thing that comes to mind when viewing your work is that there is a sense that, even though I might be viewing a single frame, it feels that behind the single frames, there are many others, many worlds. How do you consider multiplicity?
PB: I like to think of myself as a world builder, much like the playing The Sims. However, instead of constructing new environments, my intention is to uncover hidden worlds that lie beneath the surface of our reality. a single frame of my work, is akin to catching a glimpse of a vast, intricate network of interconnected narratives and histories, both modern and ancient. I like to draw conclusions about the past based on myths, using these stories as a bridge to connect the myriad facets of the present with the rich past.
How has the context of your upbringing and different socio-cultural traditions embedded itself in your work?
I was born and raised in Dubai in a biracial household, which hasn't influenced my work per se. I will say that Dubai allowed me to stay very connected to my Persian heritage. As someone who is bi-racial, the sense of feeling like an outsider in both my cultures is always present, and I think I approach my work from this very personal outsider standpoint.My school in Dubai was very much like an expat society you'd find in places like Singapore or Hong Kong, with everyone speaking English and all amenities provided for a comfortable life. While this hasn't directly impacted my practice, there is a charming carnival-like aspect of Dubai has drawn me to certain subjects and niches.
In what ways do you connect with these roots and the art world in the UAE now?
I'm not actively connected to the UAE art scene. I'm not particularly interested in institutional recognition or opportunities. I'm much more interested in working with off-spaces. I find it more compelling to create work for spaces detached from any kind of institution. I enjoy placing my work in public spaces and observing how people interact with it.
Your exhibition at Coaxial Arts, Wrath of Melmedas, juxtaposes the Strait of Hormuz’s current role as a significant conduit for oil trade transport with Melmedas, a siren-like deity from the mystical island of Hormuz. How did your research on Melmedas folklore and her description as both beautiful and deadly inform your approach to exploring the tensions between the history and present-day significance of Hormuz?
My research into Melmedas folklore, where she is described as a siren-like deity embodying both beauty and deadly allure, deeply informed my approach to the exhibition "Wrath of Melmedas" at Coaxial Arts.
By juxtaposing Melmedas with the contemporary role of the Strait of Hormuz as a vital oil trade route, I realized that this exploration not only highlighted the dichotomy of beauty and danger associated with Hormuz but also encouraged reflection on the broader implications of myth and industry intersecting in today's world, amidst complex global oil dynamics.
The exhibition, comprised of sculptures and a film made with Unreal Engine, was a project where I aimed to create fragments of Melmedas, focusing on her symbolic features. After her double-edged tail, I envisioned her crown as a prized symbol of power, signifying dominion over the ocean. To evoke a sense of age and immersion, I worked with 3D software and 3D printing to produce a crown that appeared eroded, as if it had been submerged underwater over time. The centerpiece of the exhibition was a fountain, a nod to Persian garden traditions. This fountain, although non-functional, held red sand purchased from Home Depot, symbolizing the decay of an empire—an ongoing theme in my work. Additionally, I included an inflatable donut covered in black tar, symbolizing the oil industry's impact on tourism. This element reflected on how Hormuz Island, despite its status as a tourist destination, is situated amidst intense maritime conflict.
For the film portion of the exhibition, I utilized Unreal Engine to craft an eerie depiction of Hormuz Island, summoning Melmedas. The narrative began with the crown submerged underwater, gradually making its way to the shoreline. As the crown emerged, I incorporated a pair of gryphons nestled in the rocky shoreline, drawing from their sacred significance in ancient Persian mythology. This addition not only reflected themes of empire and decline but also intertwined with the ongoing maritime conflicts of the strait. Unreal Engine provided the ideal toolset to visually manifest these themes, allowing for a surreal and immersive portrayal that resonated with the mystical and geopolitical dimensions of the exhibition.
With past or lost civilizations, it’s interesting because one of the methodological tenets of archaeology is that we never have a complete view of them, there’s always more evidence that can be discovered, or new interpretations. There's something compelling about that incompleteness.
Totally, the methodological principle in archaeology—that our view of old or lost civilizations is perpetually incomplete—resonates deeply with me. Today, digital tools allow us to reconstruct and reimagine remnants of the past in compelling ways. Yet, there's something beautiful about never fully knowing; I enjoy the mystery and the speculation. I don't think I would be making this kind of work if I had a full picture.