In Ardavan Entezari's (b. 1995 Tehran) recent collection, "Walls and Things", we observe works of acrylic on canvas that combine the artist's mental images with those of confined environments that we live and work in. These images are in fact the result of studies from a number of masks molded from several faces, which together have created unusual scales. These faces, while dynamic have come to a standstill and with the play of light, shadows, and their curvatures are highlighted.

In her digital paintings from the series "All Our Yesterdays," Termeh Ziaei (b. 2001 Isfahan) creates images that convey tranquility amidst turmoil and simplicity amidst complexity. She achieves this by employing neutral color stains, utilizing the whiteness from the negative space between hatches and depicting vast skies and serene natures. The complexity of the lines challenges the viewer to discern whether the paintings are digital or hand-drawn, ultimately aiming to evoke a sense of contradiction in the audience.

Grasping and extracting a reading of the truth, from the form of “what is seen,” to the possibility of seeing “what has happened,” amid the noise and distortion that memory imposes on the human mind, resembles the search for identity among the ruins of memories. The constant presence of this subject in the pages of family albums, among photos that capture and represent these collective memories became the starting point for Farhad Yasavoli (b. 1987 Tehran) to breathe life into this distortion and confusion, creating the “Memorial” collection. An exploration with a playful spirit within images that have now themselves become raw material for creating a new visual sculpture of “self,” amidst fragments of old concepts and memories.