Threshold  2014-2018

What is the source of the intensity in Rozita Nosrati’s works? What is the reason of the cruelty in the way she has used the material and the moments? Anxieties, fears, distresses, boredoms and finally destructions. Unlike what it seems at the first sight, these are not a narration of ruined lives. They are not objects for us to watch, they are subjects that build a structural tension.  The strokes haven’t painted the figures this way; the strokes are a pre-emptive part of the figures themselves. They are the true authors of these works, and the formal properties of these works are the yields of their destruction. Formal properties that are not built as the life/representation, incident/narration or content/form dualities, but as the negation of the negation of the concrete entity. These works are like structures for destruction. They destruct what they frame: the eyes, the hands, the totality of the figure or the incident That’s why the backgrounds are not recognizable, they belong to a metaphysical dystopia and not the daily life. They are not a coverage of the world. The figures are not gestures in their life time or place, but at their thresholds: A gesture for destruction.  These gestures are what distances these works from a dark realism. A moment after we pass by them, they start laughing unpleasantly at us. 

 Rafiq Nosrati, PHD of Theatre Studies.