Ministry of Nomads

• CV
• Video Interview
• Other Works

Fayyazi's sculptures are often the product of extensive preparatory sketches, drawings, and photographs that come to fruition over long periods of time. Site-specific and dependent upon context, her installations of crows have filled a variety of spaces and carried myriad meanings. In 1998, life-size sculpted crows were placed on top of stacked fruit crates as part of Experiment 98, an Ephemeral Art show that was staged within a Tehran construction site. For the Forum on Cultural Practices In The Region that took place in Beirut, Lebanon (2002), Fayyazi's crows graced the interior of a building and made their appearance at a bus stop in front of the so-called 'Zico House' where the art was showcased. The Yellow Silence of Nargess (2004) had the birds installed inside a 3x3x3 metre cubicle in the Tehran Museum of Contemporary Art. Fayyazi has said that 'it is the response of the viewer that defines the work'. Her insistence on the changeability of what it stands for is embodied in each of these locations.