Interview: Farnoosh Farmer
Luca Curci talks with Farnoosh Farmer during FUTURE LANDSCAPES, third appointment of BORDERS Art Fair 2020, at Palazzo Albrizzi-Capello.
Farnoosh Farmer is a Los Angeles based architectural designer whose work forms at the intersection of art, tectonics, and history. She was born and raised in the capital of Persian art and culture, Shiraz. There, she was trained in painting by local artists since childhood and before pursuing the architecture profession. Farnoosh is interested in exploring unorthodox means of drawing-the classic architecture tool. She deploys painting as a visceral alternative for architectural drawing to investigate multiple spatial conditions. Across drawing, painting, sculpting and photography, she is practicing conceptualizations of spaces through abstraction. The work she presents in “Borders Art Fair: Future Landscapes” is one of those explorations. “Komorebi” is the depiction of an inaccessible soft space outside her Upper Manhattan apartment window. It was painted during the early days of lockdown in New York when multiple thousands of people died because of the Covid19 outbreak.
Luca Curci – What is art for you?
Farnoosh Farmer – Let me say that I see myself more as an architectural designer than an artist. But both trajectories overlap in many ways, and both require a certain amount of creativity and skillsets. That being said, to me art is the result of an original, creative process that unleashes perceptions and gives objectivity to immaterial ideas.
LC – What are you currently working on?
FF – Right now I am designing different iterations of a house for a hydroponic avocado seed. After six months of trying, finally, I grew one seed successfully, and now I am thinking of it as a client and designing a house for it!
LC – What is your creative process like?
FF – I always start with a quick sketch to organize my mind before getting deep into the work, whether it is a painting or a piece of architectural work. The next step is deciding on the most becoming materials and techniques through which I can articulate my ideas. But there always should be an inspirational or motivational departure point. Mostly because my creation is ultimately a response to an external factor.
LC – Are your artworks focused on a specific theme?
FF – Some of my works are merely instant self-expression with architectural themes. But broadly speaking, they have been centered around different aspects of Middle Eastern representations. The subject of each piece varies, whether it is the tectonic structure of the earth, or an image of a fictional city, or political constructs of Middle Eastern identity.
LC – Did your style change over the years? In which way?
FF – The only thing I can say is that I grew over time and got more confident with my ideas and my thought process. That resolution eventually got reflected in my compositions and the colors and textures I use. Meaning that I was conservative in using those elements, now I am not afraid of expressing myself as such.
LC – What do you think about the concept of this festival? How did it inspire you?
FF – The most inspiring part for me was the location in which the festival takes place: Venice. The way natural landscape and urban fabric are intertwined in this city makes it the perfect context for holding a festival with the “Future Landscapes” topic.
LC – In which way the artwork presented in our exhibition is connected with the festival’s theme?
FF – The piece that I am showing in “Future Landscapes” was created in one of my life’s daunting moments, at the beginning of the COVID-19 lockdown. I think it was shared awe among seven something billion people across the world. For days I have been cooped up in my apartment in Manhattan, continually watching the news, wondering what will happen next. There was a tree right behind my window, and I spent hours watching sunshine passing through that tree. For 120 days, that was the only landscape I got a chance to enjoy. Living this instability, I kept asking myself: “what if this experience drags into the future ultimately?!”.
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
FF – I think it does, especially to the ones in the early stage of their artistic careers.
LC – Did you enjoy cooperating with us?
FF – Of course! With me being in the United States, and given the COVID-19 difficulties and travel restrictions, I was not sure if can successfully participate. It was a delight engaging in this festival remotely!
LC – What are your suggestions about our services? Is there something more we can provide to artists?
FF – Of course! Establishing funds, awards, and merit-based opportunities could benefit artists and the organization simultaneously.