The works of Leila Pazooki may seem to take different directions and have various themes but the concept of “borders” could be seen as a recurring backdrop and the common thread which goes through all her projects. It starts from her early researches on potentials of expression through visual modifications, manipulating the conspicuity of “forbidden” images and challenging the “borders” of visual work in terms of “acceptability”. Her visual explorations included the strategies of multi-layering and partial elimination of “illicit” images, mingling the “borders” of “tolerable” and “forbidden” figurative representations.
In her recent works Pazooki continues the research in the realm of media, questioning the validity or reliability of the messages which cross the “borders”. She disintegrates the visual and textual elements in the newspapers and journals through a process of “exclusion” akin to censorship which tries to set the image free as an independent medium again. Although we are already aware of the existence of the original medium and might have some predispositions over the content or probable connotations within those specific contexts, we are invited to look at the images differently. She considers this approach as a way to open up some ways for personal reinterpretation of images which were originally bound to the accompanying textual content, hindering unbiased observation of the image in the media. One could possibly discover a hidden layer of narratives in the new visual compositions resulting from the “exclusion” process.
Pazooki’s continual research is ascending into a more abstract level in her latter projects. They are suggesting an inclination to global concerns about the role of media and information in our perceptions and mindsets, cognitive processes, inter-human relationships and other subjects that are not essentially bound to geographical or political “borders”. Her works could be seen as a contribution to the battle against dogmas and “borders” which have been shaping the world through ideological and political prejudices.

Kianoosh Vahabi


























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