GMU:Hallucinating computers and dreaming non-machines/Mahla Mosahaneh: Difference between revisions

The starting ideation point of  Sinechak came from a personal reflection on the contradictions i found with my personal beliefs and cultural roots. I have a deep connection with persian poetry which got me led me to the idea of  Divana ,a figure driven into madness by devotion to the divine, and the imagery of ripping your chest open for love and truth captivated me. I found it dysphoric, surgical and somehow violent. This image became a mirror to my own internal tension, an anger born from the distance of my fragmented socially inscribed body and this idea of liberation. I felt very close to it but it was still very out of reach.

I wanted the process of creating Sinechak to grow from the same state of openness and uncertainty. I began without a fixed plan, taking daily notes, writing, recording sounds, and experimenting with different materials. The first visual form of the project emerged through collage experiments, as I tried to give shape to the idea of formlessness. I did acts of deconstructing and reconstructing photos, mostly from geographical books with natural landscapes.  

I was drawn to the spatial depth in these collages and wanted to emphasize it further. To do so, I rephotographed the collages using green screen and lighting setups that cast shadows, expanding their sense of dimension