I always wanted to be a designer; mostly an architect.
When have you started creating jewelry? How did this passion come about?
When I was 16 I started to create jewelry with clay and paint them with ceramic colors. I made fabric treads by braided Embroidery fibers with different colors and they were all sold out! My first encounter with jewelry goes back to my early childhood. When I was 7, I had a gold pendant in a 3D apple shape which helped me see it as a miniature sculpture. My parents helped me visionize the concept of it. Like freshness, sweet, etc. I already had an experience with sculptures and the concept behind building them back when I was living in Italy. Years later, when I was studying architecture at university, the giant glass sculpture with its dazzling light reflection in the corridor of campus amazed me to the point that I wished to be capable of having it in small size, to be able to carry it with me everywhere, time free.
What was your first project or significant piece for you and from what point of view?
In 2016 I made a pendant that was based on childhood curiosity. You know, when you are a kid, looking through a lock hole, there is another world that you can imagine. That fantastic feeling of capturing the other side's secrets. Though, it was an empty room and nothing was there but our imagination.
In 2020 I made a collar necklace for Jewelry Design Week of Tehran with a concept of “Tolerance” in society. The inspiration for this piece came from the existence of tolerance back in the 4th century in Iran.
In an effort to restore the old concept of tolerance in social life and other intangible cultural heritages. Such as, bascule, lachrymatory, Tally and Phoenix. I would call this piece significant, because during the design process, I had to refer to my own roots and cultural context besides my own life experiences. So it made me learn about the history of Iran, more specifically the golden age of society. However, while learning, it was so sad when I found out how we used to be and we’re not anymore. Making this piece is more about consolation than how it's supposed to “be”.
How do you charge your batteries? What other passions and creative interests do you have?
I love making art, listening to music, and doing sports like running and Yoga. I try to visit galleries and check out artists and their artworks. I love to learn about their stories behind their creations.
What does the connection between manufacturing tradition and contemporary design mean to you?
Jewelry has always been a good way to represent cosmology to people, based on the jewelry type. It spoke of status, in modern design culture and design incorporates all meanings and values. The art of Jewelry is a special way to combine art and technology; traditional jewelry craftsmanship and innovative design technologies. Yet we have “non-traditional” materials that have their proponents. Since it has not yet been established which types of materials are included in the traditional group and which are nonconformist, we cannot precisely classify materials or design styles for the manufacture of jewelry. In conclusion, there is insufficient theoretical elaboration and a weak connection between the theory and practice of designing and manufacturing jewelry, using non-traditional materials which I think it's where they may be separated. In addition, the traditional materials for the manufacture of jewelry usually are considered to be precious metals in combination with precious stones as well as base metal but modern jewelry does not stand still, and along with the traditional ones. Approaching not being traditional is associated with retreat and abandonment of traditions even in the design area the use of non-standard materials which we meet in contemporary design, should transform the material so that it becomes something above the novelty of the material itself. Every traditional manufacturing method carries with it stories of its origin, evolution, and significance in a particular culture or society. When integrated into modern design, it adds depth and narrative to a product that would otherwise be purely functional or aesthetic.
Is there a self-portrait piece that speaks most about you?
I took a self-portrait, back in 2018 which relates the most to me. I was in a different state of mind that I couldn't make anything or wasn't able to get any inspiration from anything. That portrait that I took, made me realize how tough I have been on myself. The way I looked still and silent. I could see how much I was carrying different feelings and thought that I needed to stop. This photo says a lot about me. That's why I can see, read and understand myself better. Also the attached portraits for the fourth question are my favorite photos. These photos are not self-portraits but were taken by one of my favorite artists. Being captured through his lens was a very special and memorable experience. Moments when I found myself facing my past and present. Sorrow deepen people, and this depth is obvious in his perception of people in his art.
Which material have you not yet used is a temptation and a challenge for you?
Wool, I want to try it although I still have no room for it in my stories. Hope one day the story brings it all together.
How was the pandemic period for you as a jewelry designer?
I had enough time to read books and be focused on my marketing. I had an opportunity to know many incredible artists via social media and the internet due to quarantine.
How do you see the future of contemporary jewelry?
I believe that contemporary jewelry has an ever-lasting impact on us. Because it brings up space and language. These two elements can give you the experience of being. It's like another language. It helps us communicate in a different way and not through words. In the upset of using words and other communal instruments, we can exchange our true space of mind and intentions. Therefore, Contemporary jewelry will always have its part in our future and lives and will find a strong path due to new techniques and new materials.
