"Liminal" serves as an intuitive and lived reflection of the real world

"I see myself as an explorer who looks into the hidden layers of nature and the earth. The process of creation is not merely a technical matter for me, but rather a form of experiencing life."

Sheyda Monajemi (painter) told ILNA: "In the Liminal series, the main theme revolves around engaging with both the hidden and visible layers of nature. It can be seen as a kind of exploration of the earth and the memory of materials, something that unfolds over time. The creative process itself reflects this experience through repeated acts of adding and subtracting, scraping, layering, collaging, and continuous construction."

According to ILNA’s reporter, nature has always been a unique and vital source of inspiration for artists, not limited to any one discipline. Countless poets and storytellers have drawn from nature as the foundation of their work. Similarly, photographers, filmmakers, musicians, sculptors, designers, and painters have all explored nature either directly or indirectly through various styles. Among these, painters arguably have had the most direct engagement with nature, using it both as subject and as creative material. This attention has persisted from ancient times through the classical, modern, and postmodern eras. Iranian painters too, have occasionally placed nature at the center of their work. In contemporary times, this interest continues.

Sheyda Monajemi is one such artist for whom nature remains deeply significant. Her most recent exploration of this theme is showcased in her solo exhibition titled "Liminal," held from Friday, May 16 to Friday, May 30 at Ba Gallery.

"Liminal is a sensory and experiential reference to the real world. Nature is my endless visual source for creation."

Part of the exhibition statement reads: "This series, inspired by the exploration of the hidden layers of material, places nature, as a powerful yet delicate force, at the heart of its visual approach."

In her interview with ILNA, Sheyda Monajemi elaborated on the Threshold series:

How did you come to this profession?

My deep interest in art and painting started well before pre-university. When I was a student, I had a strong passion for art. However, even though I had this interest for years, I wasn’t initially sure if I wanted to pursue it academically. Eventually, with the support of my family, I switched from the science track to art and took the Art University Entrance Exam. I was accepted into the painting program at the University of Gilan.

What did studying painting in university bring you?

Having teachers and mentors really helped shape and strengthen my visual language and aesthetic sensibility. Since then, I’ve been active in painting and eventually earned my Master’s degree in Fine Arts from the University of Art. Over the years, I’ve continued working with passion and commitment.

In Liminal, you reference both the upper and lower worlds. Are these metaphors or literal references?

Not metaphorical, no. I mean them in a literal, physical sense of nature. The "underworld" refers to the earth’s layers soil, roots, sediments, and natural formations that exist beneath the surface. The "upper world" relates to the visible surface plants, forms we can see, the skin of nature. These two realms, while distinct, are always interconnected in my work. I've aimed to express this connection through visual compositions and my choice of materials.

It seems that your creative process is conceptually tied to your themes. Is that intentional? What conditions or states do your works suggest?

The Liminal series points to a space between two realms, not entirely in one or the other. This idea closely mirrors my own process, where material and form, visible and hidden nature, and even process and outcome all intersect in a state of suspension and exploration. This theme is reflected both in the content and the method of creating the works. The constant change and experimentation with materials in the process mirrors the changes and transformations in nature itself. To me, that’s the essence of nature and this is echoed in the way I work.

Your works seem to hover between abstraction and figuration. Would you agree?

Yes, the forms in my works often refer to natural elements and geological structures—like roots, rocks, soil layers, even trees. But they are never fully representational or descriptive. This in-between space gives me the freedom to explore texture, form, and abstraction, while still maintaining a sensory and experiential link to the real world.

Was creating ambiguity or a sense of suspension your goal? Did you aim to provoke questions in the viewer?

What matters to me is that the image is neither completely legible nor fully abstract. This Liminal space allows the viewer to interpret the work freely.

Can you clearly analyze how the process led to this meaning and execution?

In this series, I worked with a variety of materials, handmade papers, chalk powder, and more. Through layering, removing, and reapplying these elements, I experienced a constantly evolving process. My goal was to look beyond the surface of nature, like a researcher examining the earth’s hidden layers. For me, the back-and-forth of material interaction is just as important as the final outcome.

How would you categorize the works in Liminal? Or perhaps categorization isn’t necessary?

As I mentioned before, the works explore two dimensions of nature: what is seen, like the surface, plants, visible forms, and what is hidden or stored in the memory of the earth. That’s the basic framework I’ve used to organize this series.

How do you see the continuation of your artistic path—especially in terms of style and technique? How did you arrive at this specific method and stay with it?

I developed this style and technique in the final years of my undergraduate studies, with guidance from my professors. Since then, I’ve continuously worked to deepen and refine it. Over the years, I’ve maintained this approach, while remaining open to modifying the materials I use. The focus of my process has always been working with diverse tools and materials. The journey the trial and error, the evolution is essential to me.

Clearly, nature is your central theme. Do you think this theme can evolve or shift?

I’m from Gilan, so I have a direct and intimate connection with nature. That may be why I’ve chosen it as my visual source. I’ve always wanted to express nature in an abstract way. Everything I want to explore is hidden in nature and it provides endless inspiration. Whether or not that theme changes depends on how I feel at any given moment in time. Which part of nature I choose to explore also varies. But I believe nature will continue to be a rich source for me for many years to come.

So, would you say your creative path is a form of discovery or revelation?

Yes, for me, the process of creating is never predetermined. It’s a moment to moment experience driven by discovery and experimentation. I don’t begin a piece with a fixed idea; I allow the materials themselves to guide me through unexpected events and visual responses. Through working with layers and changes, I shape the path as I go. This process becomes a form of inner and outer exploration a continual encounter with nature, material, and the self.

Is there anything left unsaid that you'd like to add?

In the path I’ve chosen, I place myself in an ongoing exploration of nature. The way I work with materials mirrors the theme of the work itself—discovery, revelation, and the unveiling of hidden aspects. I want to emphasize that for me, the act of creating isn’t just a technical process it’s a lived experience, side by side with nature.