Pegah Pasalar
Going South جانب جنوب 2025
From the ongoing project Exodus Pathology
Photography, cement bricks, table top fan,
Frames 22.28
installation with variable dimensions
South is a space South is a place
South is an organ South is a bless
South is a fish South is a dream
South is a compass South is a relief
South is a toward
South is my maman
The South remains, a prosperous ruin
In non-fiction cinema, hours of directionless and wishful framings are stored on memory cards and then structured into three-act narratives by moving “post-its” around. This process is called a paper cut.
Between memory and document, and the documentation of a document, the lower frequencies of ancestral inheritance move the bodies that are buried and float in ceaseless currents to remind us that structural coherence is only a fantasy.
Pegah Pasalar
every collapse carries many other collapses افتادنی که مرا می افتد
From the ongoing project Exodus Pathology
Hand-blown glass, metal pinboards, bricks, shrink plastic, and flashlight
Glass 10 × 4.5 × 8.5
installation with variable dimension
This immersive installation dwells in the uneasy space between balance and collapse, where equilibrium exists only under constant threat. Shrink plastic tightens around cement bricks like a held breath, while a fragile glass form—bruised, scarred, and visibly strained—bears the marks of pressure and survival. Pinboards press against the shrink-wrapped surface, outlining and framing the glass as both support and constraint.
Viewers are handed a flashlight and invited into a slow act of searching. Light glides across transparent glass, activating reflections and distortions that echo early cinematic technologiesThe work remains perpetually unstable and mutable, shifting with every movement of light. The work seduces only to invite a viewer in, to reveal a condition of precariousness.
