Ghezelayagh’s new work is front and center in the exhibition. In addition to an installation of silkscreen-printed calligraphic works — each bearing the stylized image of a pen nib, on embroidered, hand-woven textiles — hundreds of the nibs she transported from obscurity and redundancy in Tehran have found a new, symbolic lease of life, encased in tiles of colored glass and strung on threads by the dozen.
Not all the nibs in her project — “Encapsulation” — are completely encased; some protrude beyond the confines of the glass. The symbolism is self-explanatory.
“I talk a lot a lot about censorship and freedom,” says Ghezelayagh.