Six large textiles hung from the ceiling at the entrance to the gallery, creating a natural channel into the space. Past the textiles, along the far wall, were a series of framed monoprints of native Persian irises. The exhibition\u2019s ambience was delicate and reflective, enhanced by the thin cloth, turmeric tinge, and floral motifs. The orange hues contrasted with the devastating scenes of persecution that created a cohesive narrative of cyclical oppression.<\/p>\n\n\n\n
![\"Anahita-Norouzi\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2024\/09\/G44-Anahita-Norouzi003-scaled.jpg\")
Systema Naturae,<\/em> exhibition view, Gallery 44, Toronto, 2023.
Photo: Darren Rigo, courtesy of the artist and Nicholas Robert Gallery, Montr\u00e9al<\/figcaption><\/figure>\n<\/div>\n\n\n\n
The grouping of suspended textiles is titled Palimpsests of Unseen Pasts <\/em>(2022). Each piece consists of one transparent layer backed by a slightly more opaque second layer, separating imagery thematically and physically. The overlapped cloth develops a narrative of cause and effect, identifying Western botanical research as a veil concealing exploitative endeavours pursued by Western nations. On the backings of each piece are large anthotypes, created using saffron-based pigments, depicting Persian iris specimens held by various Western institutions, digitally altered by Norouzi to include only their anatomical contours. The front layers of each textile feature archival scenes and examples of historical imperialism in locations coinciding with each plant specimen\u2019s origin. The artistic gesture of altering appropriated Persian iris samples challenges power dynamics created by large Western institutions, illuminating a dark history of Western collections rooted in plunder and insurgency. Arabic script embroidered on these front sheets reaffirms the iris\u2019s Iranian origin, despite the samples being held outside of Iran. Polychromatic palettes of each specimen are included on this front layer, emphasizing themes of extraction. The palettes are organized into groups of squares, noticeably saturated within an otherwise monochromatic gallery space. The floral and vegetal motifs are contrasted with black-and-white reproductions of newspaper articles and imagery depicting public persecutions, armed forces, Western archeological endeavours, and oil pipelines.<\/p>\n\n\n\n The word \u201cpalimpsests\u201d suggests that a previous history has been rewritten or manipulated. The natural saffron pigments used by Norouzi carry connotations regarding colonial spice industries in the Middle East. Colour swatches correlate with these now-monotone irises, reintroducing a natural beauty stripped away by suppression. Norouzi created her own palimpsest, reassessing fragile floral motifs juxtaposed with archival findings of suppressive treaties imposed by foreign nations, forceful acquisitions of trade routes, and armed occupations under false pretenses.<\/p>\n\n\n\n The series of seven framed native irises at the far side of the gallery is titled The Circuit of Dispossession <\/em>(2022). <\/em>Norouzi made these monoprints using crude oil as pigment. She imprinted the flowers onto sealed translucent paper, which was then folded at the centre, creating symmetrical abstract figures reminiscent of inkblots for Rorschach tests. The irises vary in size and shape, portraying a clearly vegetative aesthetic with an array of values and textures. The paper and frames invoke similarities in colour to the golden hues of Palimpsests of Unseen Pasts. <\/em>Norouzi uses materials that draw connections between foreign extractivism and Iran; here, the iris species native to Iran once again serves as a signifier of something once untarnished. The iris specimens, soaked in crude oil and then printed, exemplify the political, environmental, and cultural effects of oil extraction on Iran. They become emblems of Western imperialist resource exploitation and the environmental despoliation that it engendered. Faint English texts represent the lingering effects of Western occupation. The sheer volume of works emphasizes the repetitive nature of fossil-fuel extraction, which perpetuates the cyclical patterns of colonialism evoked in the title.<\/p>\n\n\n\n On a wooden platform behind Palimpsests of Unseen Pasts<\/em> were ten sculptures of irises made of black glass, titled What Is in a Name <\/em>(2022). Each iris was labelled with a bronze plaque that gave it a name from old English rhetoric. Norouzi used imperial language and materials to strip the irises of their original identity and create a narrative of displacement. The presentation was reminiscent of cabinets of curiosities, further perpetuating the narrative of displacement and extractivism. <\/p>\n\n\n\n Norouzi\u2019s exhibition was a cohesive installation that created a meaningful dialogue with the public around the implications of imperialist practices. Her archival excerpts help to develop a narrative of repetitive predatory foreign policies imposed in a century-long cycle of exploitation. With a focus on the iris as a signifier of an untainted environment, Norouzi conveys radical cultural shifts resulting from Western greed and imperialist practices. Her powerful and emotionally charged images connect notions of scientific exploration, extraction of resources, and violence, and they create a necessary outlet for the reassessment of Western foreign policies.<\/p>\n\n\n\n Owen Kosmala is an American author and student living in Toronto. He is passionate about visiting alternative gallery spaces and exploring new ways to experience art. He is currently pursuing a degree in art criticism and curatorial practices at OCADU.<\/p>\n\n\n![\"Anahita-Norouzi\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2024\/09\/G44-Anahita-Norouzi016-scaled.jpg\")
Systema Naturae,<\/em> exhibition view, Gallery 44, Toronto, 2023.
Photo: Darren Rigo, courtesy of the artist and Nicholas Robert Gallery, Montr\u00e9al<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n![\"Anahita-Norouzi\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2024\/09\/G44-Anahita-Norouzi021-scaled.jpg\")
Systema Naturae,<\/em> exhibition view, Gallery 44, Toronto, 2023.
Photo: Darren Rigo, courtesy of the artist and Nicholas Robert Gallery, Montr\u00e9al<\/figcaption><\/figure>\n<\/div>\n\n\n\n