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Fatemeh
Abbas
Zadeh
No
Women’s
Eyes
Should
Be
Overlooked
The
eye
is
not
as
simple
as
what
we
see,
but
something
which
is
complemented
with
our conceptual
perception.
For
impalpable
reasons,
we
attribute
to
it
values
that
permeate
our thoughts
and
change
our
personal
constitution.
In
other
words,
we
could
say
that
the
eye
is
the expression
of
our
feelings
and
the
reservoir
of
subliminal
memories.
Culturally,
the
physical emblem
of
the
eye
is
palpable
in
the
physical
structure
of
the
city.
Personal
memories
change into
collective
memories
of
the
city,
and
therefore
individuals
make
a
society
together. Meanwhile,
the
thing
that
helps
the
addressee
is
not
necessarily
“No
Women’s
Eyes
Should
Be Overlooked,”
but
the
ability
to
see
fairly.
Maybe,
one
frame
of
this
collection
would
be
enough to
teach
its
addressees
to
see
properly.
Women
could
only
be
salvaged
through
their
eyes:
“God’s
mercy
is
closer
to
the
eyes
than
the
minds.”
The
materials
used
in
this
collection
are
boxes
of
matches,
tea
bags
and
chocolate
wrappers.
All of
them
symbolize
the
changeability
of
consumerism.
Things
that
seem
to
be
mundane
and immaterial
are
more
potential
for
annihilation
in
the
trend
of
consumerism
than
the
seemingly substantial
ones.
The
portraits
of
this
collection
have
been
photographed
on
city
streets,
on
buses,
on
subways…; the
portraits
that
are
seen
every
day
but
finally
get
lost
and
won’t
be
seen
again
unless accidentally.
We
keep
them
in
our
minds
or
forget
them.
A
portrait,
with
all
its
emotional
and experimental
loads
of
memory,
is
etched
in
the
observer
or
addressee’s
mind
on
the
basis
of
a mutual
interaction. The
women
of
this
collection,
with
all
their
stories
and
sentimental
bonds,
can
be
divided
into communities
relevant
to
memories
and
oblivion.
Their
stories
are
written
on
their
faces,
you should
only
know
how
to
read.
Last
but
not
least,
this
collection
has
been
the
expression
of a
personal
whisper
and
the
shriek
of these
women
who
should
find
their
shortcomings
to
end
their
pains.
Written
by
Fatemeh
Abbaszadeh
Translated
by
Azadeh
Feridounpour
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