In Iranian mythology, menstruation (Dashtan) begins with the kiss of “Ahriman” on the forehead of his daughter “Jahi.” Jahi is considered the first mother of women, and the woman’s body symbolises her home. In many pre-modern cultures, menstruation blood was deemed “foul,” “evil,” and “ominous.”

Here and now, blood, which is both the origin of filth and the wellspring of life, intertwines with other elements of nature. It brings life to non-entities on the canvas, non-entities suspended in the midst of transformation through a delicate dance, existing between clarity and ambiguity.

This life-birth-art reveals and expresses what has been hidden and forbidden. When these non-existent entities are sprinkled on the naked body of the canvas, they simultaneously create themselves and the artist, shattering the illusion of a strict “creator/creature” boundary.

Displaying these entities is an inseparable aspect of their existence and self-creation, as the moment of “seeing” grants repressed and rejected matter the chance to live anew.