RAHELEH FILSOOFI
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Biography
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Odyssey, 2022
video (still) |
RAHELEH FILSOOFI is a collector of soil and sound, an itinerant artist, feminist curator, and community service advocate. Her work synthesizes socio-political statements as a point of departure and further challenges these fundamental arguments by incorporating ancient and contemporary media such as ceramics, poetry, ambient sound, and video. Her interdisciplinary practices act as interplay between the literal and figurative contexts of land, ownership, immigration, and border.
Her work has been shown individually and collaboratively both in Iran and the United States, including the recent interactive multimedia solo exhibitions Inh(a/i)bited, an interactive multimedia installation in Spinello Project Gallery in Miami (2020), and The Overview Effect, an interactive Multimedia Installation in Betty Foy Sanders Gallery at Georgia Southern University (2019). Filsoofi’s ‘Imagined Boundaries’, a multimedia digital installation on border issues, consisting of two separate exhibitions, debuted concurrently in a solo exhibition at the Abad Art Gallery in Tehran and group exhibition (‘Dual Frequency’) at The Art and Culture Center of Hollywood, Florida in 2017. The installations in each country connected audiences in the U.S. and Iran for few hours in the nights of the show openings. Her multifaceted curatorial project ‘Fold: Art, Metaphor and Practice’, which engaged over 20 artists, scholars, and educators in exhibitions, performances, and lectures over a period of one year in Edinburg and McAllen, Texas, has been a milestone in her professional career. |
She has been the recipient of grants and awards, including the South Florida Cultural Consortium Fellowship for Visual and Media Artists funded in part by the National Endowment for the Arts. She is an Assistant Professor of Ceramics in the Department of Art at Vanderbilt University. She holds an M.F.A. in Fine Arts from Florida Atlantic University and a B.F.A. in Ceramics from Al-Zahra University in Tehran, Iran.
