By Rawaa Talass
Fariba Boroufar is an Iranian textile artist whose works draw attention to the preservation of Iran’s great architectural heritage at a time of modernization and rapid technological change. She is presenting her first solo exhibition in Dubai — “In our Bones” — at Gallery Isabelle in Alserkal Avenue.
Working with textiles and weaving, Boroufar creates sculptural pieces that pay tribute to the architectural heritage of her homeland. Reminiscent of Iran’s wind towers and geometrical patterns such as the hexagon, her textile works are inviting, yet also fragile — like the historic architecture of Iran, which are in need of preservation.
In a recent interview with Kayhan Life, Boroufar discussed Iran’s rich textile history, the challenges of making art in her home country, and the serenity that weaving brings.
Fariba, can you talk about your background in Iran and how your Iranian heritage has influenced your work as an artist?
My journey into art began when I enrolled in the Tehran School of Fine Arts, studying sculpture. Later, I studied graphic design and illustration at university, which led me to work professionally in the publishing industry while still a student. For years, I worked as an art director at a newspaper and also taught as a faculty member at a university.
These roles were far from the personal vision of art I carried within me. About 11 years ago, I decided to transition from graphic design to textile art. Initially, fiber art was a hobby and an experimental pursuit. I began creating works by weaving portraits of various characters. I was entirely self-taught and used a variety of materials and techniques.
During a challenging period, while caring for my ailing father, I created a piece titled “Dialysis.” This marked a turning point, steering me towards a new form of textile art that I have continued to develop ever since.
Can you talk about the importance of textiles in the art and culture of Iran, and in your own upbringing?
The Middle East is often considered the birthplace of textile art, and being from a desert region in Iran, with a rich weaving tradition, deeply influences my work. Across Iran, handwoven textiles reflect the natural and cultural environment. In northern Iran, for instance, baskets are woven from plant fibers such as reeds, while in the south, palm leaves are used to create mats and flooring. Nomadic tribes, due to their constant mobility, use portable ground looms to weave black tents from dyed sheep wool.
This rich heritage, passed down through generations, forms the foundation of my work. It’s like an inheritance of handcrafted memories— carpets, kilims, fabrics, and prayer rugs— found in old Iranian homes, which preserve a connection to our ancestors.
How did your interest in art begin, and what are some of the rewards and challenges you’ve faced?
My interest in art began with an exploration of the natural world around me. As a child, I was fascinated by the details in shapes, the variety of colors in stones, and the structures and connections in plants. I would spend hours with a small home microscope, and find excitement in sketching or replicating the intricate details of a leaf. This fascination led me to take painting classes at the Institute for the Intellectual Development of Children and Young Adults, and eventually led me to study sculpture.
Living in a traditional and conservative society often presents hurdles. Pursuing art often feels like a constant struggle against one’s environment.
When I began working with fiber art, I faced the challenge of the medium being largely unknown to the general public and even parts of the art community. While Iranians are deeply familiar with handwoven masterpieces like kilims and carpets, it is difficult for them to imagine a visual or conceptual artwork created through weaving.
This makes textile art more challenging compared to more familiar forms like painting or sculpture. Limited exhibition opportunities mean these works are less visible. I’m interested in displaying my work in architectural spaces and historic buildings. Yet finding sponsors or investors — and navigating the complex process of obtaining permits and coordinating such projects – has been a significant obstacle.
What would you say is a central theme that you keep exploring in your work?
The primary source of inspiration in my current work is ancient Iranian architecture. For years, out of personal interest, I travelled extensively to historical cities and sites across Iran. I documented these locations through photos and videos, building an archive that deepened my understanding of Iran’s architectural heritage.
Ancient Iranian architects designed buildings tailored to the needs and lifestyles of their users. They made remarkable use of mathematical and geometric knowledge: Geometry was applied even in the smallest details, resulting in some of the most intricate and beautiful artistic designs. And they displayed extraordinary ingenuity in adapting to harsh environments. They worked in challenging climates — extreme heat, aridity, water scarcity, and even seismic activity — to create livable spaces, sprawling cities and thriving human communities.
Unfortunately, this rich architectural legacy is now on the brink of extinction. The intricate details, the masterful geometry, the rich materials, vivid colors and patterns, and thousands of years of human experience are all disappearing. My work serves as a call to preserve this endangered heritage. Through my pieces, I aim to highlight the value of these traditional arts and their profound significance. I draw inspiration from what already exists, altering forms, colors, and techniques to personalize and reinterpret them. My goal is to encourage viewers to rediscover and appreciate the importance of these timeless traditions.
For instance, in my piece “Firouzeh – Turquoise,” I draw on the geometric patterns of traditional turquoise tiles. These orderly blue tiles appear to crumble in the lower part of the artwork, transitioning from symmetry to chaos, symbolizing the gradual destruction and loss of these architectural elements.
In another piece, “Badgir – Windcatcher,” I was inspired by the wind towers of traditional homes in central and southern Iran. These desert architectural marvels were not only functional but also aesthetically stunning—yet today, they are largely forgotten.
Can you explain the title of your latest show, “In Our Bones,” at Gallery Isabelle in Dubai and how it relates to the artworks on view?
The title “In Our Bones” has two layers of meaning. The first is a tribute to the tradition of Iranian textile artisans. It honors the resilience of Iranian women who, despite historical and social hardships, have preserved and passed down the craft of weaving through the ages.
The second layer reflects the specific circumstances during the 10 months leading up to the exhibition. This period coincided with intense political and social upheavals in the country where I live. Almost daily, I encountered events that disrupted life and brought deep uncertainty and anxiety about the future. It was challenging to manage these emotions while maintaining the mental clarity needed for creative work.
The instability seeped into every part of my process—from procuring materials to designing and weaving the pieces. Each artwork in the exhibition was created under vastly different emotional and environmental conditions during this turbulent time. Some were made during moments of enthusiasm, while others came together during periods when I was on the brink of complete despair, unable to work at all.
Even obtaining materials became a struggle. Supplies would disappear from the market within days due to price hikes or import restrictions. I had to learn how to adapt and find alternatives to avoid leaving pieces incomplete. Towards the end, logistical challenges intensified, with airport closures and flight cancellations threatening not just the delivery of the artworks but also my own presence at the show. Ultimately, the exhibition came together through sheer determination and the incredible support of Gallery Isabelle.
Can you talk about the intricacies of the process of weaving? How challenging is it for you, and how did you start working with this detailed medium?
The process begins with imagining and designing the piece. Based on the requirements of the design, I select the appropriate materials for weaving. I create a palette of fibers and colors, dividing the design into sections. While my works do not feature intricate patterns like traditional carpets or kilims, they rely heavily on color combinations and diverse weaving techniques, as well as form-based divisions and pattern design.
Some viewers express concerns about maintaining textile art, but I remind them that textiles, like hundred-year-old carpets, can endure with proper care. The same principles apply here.
When you are weaving a piece, what goes through your mind? Would you say it is a form of meditation or relaxation?
When I began working in fiber art 11 years ago, I realized how weaving fosters focus and provides a calming experience. The act of weaving brings a unique serenity, created through the repetitive motions of tying knots, twisting fibers, and layering warp and weft, row by row. It is often accompanied by silence, with each layer slowly building upon the next. Even the process of organizing threads and separating fibers is soothing.
Unlike painting, where emotions can often be heightened, weaving minimizes emotional intensity. For large-scale works, the process demands immense patience as completion may take a long time. The most rewarding moment is when the piece is finally removed from the loom—a culmination of effort, akin to a birth, marking the end of the journey and the creation of something new.
Is there a particular artwork in your show that is dearest to you?
Among the works in this exhibition, “Blue Column” is particularly dear to me. It is a hopeful, joyful, luminous, and dreamlike piece, rendered in shades of blue. It serves as a return to our past—a nostalgic tribute to the grandeur of our architectural heritage and a connection to our cultural roots. The installation of this piece at Gallery Isabelle has enhanced its impact, and the work is designed to be adaptable to different display formats, making its presentation even more versatile and dynamic.
“In our Bones” is on view at Gallery Isabelle, Dubai until December 7, 2024.
