Samin Ahmadzadeh

The work of Samin Ahmadzadeh was referred to in my feedback for assignment one as being relevant to the work I had produced.

Samin Ahmadzadeh is an Iranian photographer/artist now based in London. Her practice was initially concerned with street and documentary photography, and was particularly concerned with cultural and sociological matters in Iran. Studying for an MA at Central Saint Martin’s School of Art and Design, Ahmadzadeh was influenced by the work produced fine art students and her practice became more conceptual. She began to create collages from photographs from her family’s archive. Bahadur (2016) makes this observation:

“[Ahmadzadeh’s] objective is to make personal and intimate photographic collections transcend the memorial function and open them for further social, cultural and historical analysis and interpretations.”

Ahmadzadeh uses a technique she describes as ‘photo weaving’ in her collages initially inspired by the idea of multiculturalism and particularly her fathers experience of being both Iranian and going to boarding school in England. Looking at the family archive, she recognised how her fathers identity was informed by both Eastern and Western cultures and wanted to find a way to capture this in a single image:

“With the photo weaving technique, I was able to combine the captured moments that have shaped his persona and identity as a result of being raised in two completely different cultures. Two photographs that represent the different upbringings are shredded and weaved together. With the shredding of the images I recreate the fragmentation of a memory. The two photographs are then combined as a weaving. This final abstracted image can be interpreted as a recall of his unconsciousness being formed through his life experiences in between Eastern and a Western society.” (Made In Mind, s.d.)

Bahadur (2016) has this to say about the work:

“The past appears in a fragmented visual style, much like how we have it stored in our minds. The final artistic products are multi-layered images, each containing a mix of several figures and stories, gently conveying to us the message that one individual is really a composite of many influences and experiences.”

The presentation of the finished work has evolved to the point that creating an interesting object in its own right is a central concern for Ahmadzadeh. Often, the compositions are ‘finished’ by being mounted on wood, varnished and then polished which gives the compositions a permanence and makes them a one of a kind project. (Ahmadzadeh can be seen making work this way in this film.) The process of weaving the images is time consuming and the end result is always surprising – sometimes the finished pieces can turn out completely differently than they were at first envisaged which is exciting and unpredictable. In an interview, Ahmadzadeh describes her interest in abstraction:

“I’m interested in how abstract art has experimented with colour pattern, shape and composition as a form of visual language, often breaking down a composition to its basic elements. For me looking at abstraction in art has allowed me to focus more on exploring the relationship between forms and colour in my work to present my ideas on memory, something that itself can be quite abstract.” (Turner, s.d.)


This project was initiated as part of Ahmadzadeh’s final MA project – two images of her father are interwoven in an attempt for her to understand how his childhood living between Iran and English boarding school affected him, informed his identity and how this was passed to her. Apart from seeing the family photo archive, Ahmadzadeh knew little about this part of her fathers life and she chose to begin the project with detailed interviews where he recounted every single memory of when he was in the UK:

“Hearing all that, it made me understand and relate to the story. I realized the variety of concepts that I could explore, while at the same time focusing on the idea of storytelling. I began to think about a person’s identity, the effect of family and cultural history on one’s personality and the idea of multiculturalism.” (Made In Mind, s.d.)

10,000 Faces:

the inspiration for this series comes from an idea Ahmadzadeh came across that posited the limits of human memory limit mean that we only have the potential to recall 10,000 faces in our life times. Two archive head shots of celebrities and everyday people are woven together to create a new image which seems both familiar and alien. The collages are immediately identifiable, and yet, the ability to read them is frustrated. As I try to make out the people in the photographs, the more I look the less able I am to do so. Strangely, they also seem completely familiar – the result perhaps of being able to recognise the language employed by the studio photographer.

Recollection (2016-17):

This work is a 500 piece installation commissioned by Nottingham Museum and Art Gallery which incorporates Ahmadzadeh’s own family archive with that of Brighton based photographer Tim Andrews. Andrews saw Ahmadzadeh’s work on Twitter and invited her to use his archive as source material. Both archives are from a similar time period and by bringing both of them together Ahmadzadeh is able to show that there is a large similarity between East and West.

Aesthetically, Ahmadzadeh chose to present the images in the form of circles which is based partly on her interest in geometrical factors used in art, particularly Islamic art, and also because she wanted to use the form of the circle to represent unity and harmony – something that is significant given she is bringing two sets of family archives together.

The journey Ahmadzadeh has followed in her practice – from an interest in traditional forms of photography that is based on the real to conceptually based work that is based on the archive and appropriation resonates with me as I beginning to suspect this is where my own interests are heading. I admire the way she has arrived at a way of working involving weaving images together and then has developed this subtly forward in both form and content. There is also an authenticity to her work that comes from her wanting to explore her family history which elevates the work above being either a technical or aesthetic exercise.


Bahadur, T. (2016) All Woven Up. On Art and Aesthetics. Available at: [accessed 24th November 2019]

Made In Mind (s.d.) Samin Ahmadzadeh. Made In Mind Magazine. Available at: [accessed 24th November 2019]

Recollection (2017) Dir: Vrublevska, V. Available at:

Turner, A. (s.d.) Q&A: Samin Ahmadzadeh. Strange Fire. Available at: [accessed 24th November 2019]

Assignment 1: Response to Tutor Feedback

I was pleased with the positive feedback for my first assignment and had a motivating 30 minute tutorial with Wendy discussing a wide range of subjects. My tutor report can be viewed here:

The aspect of the feedback that resonated the most, immediately made sense to me, and made me question how I had presented the work was Wendy’s challenge to my description of my choice of location for the source photographs I took as “nondescript”. I deliberately attempted to downplay where I decided to set up my camera but this is disingenuous – as Wendy states “choices are very important.” I can only explain my lack of consideration of what the images meant as being focussed too much on the form of the work, and its technical and visual aspects, rather than the content and context. It would be accurate to say that in the making of the work I tried not to become sidetracked by over analysis. When it was complete however, I should have considered more closely what it means both to me and to someone who is unfamiliar with the area I have photographed. For Wendy, the images are a comment on urban demise and the downturn of the British High Street and I can certainly see how this wider theme is present in analysis of the work. It also strikes me that I have failed to explore fully the ambivalent feelings I have for my home town and the people who live there. This is something that I need to consider further and ultimately rework into a revised written introduction for the assignment.

We did not really talk a lot about the visual content of the work, of which my main concern is how I will present this for assessment. At a recent study day for the OCA North group, I took my prints for the assignment along for critique and was struck by the immediate reaction of OCA tutor Andrew Conroy who said that the pictures would look good displayed as huge prints. He also mentioned that revisiting the selections and scattering them randomly could be an interesting way of arriving at a different composition. There is also a clear division in the two parts of the assignment with the ‘cut and paste’ images making it obvious that they are constructed in a physical way. This difference is something that I enjoy about the two parts, however, I found myself having to explain that the digital collages are constructed – I am not sure if this is significant as I was presenting them without the context of my introduction but it does seem to be important enough to require consideration.

Wendy also pointed me towards two artists she felt would be of interest to me as they have made composites by weaving together photographs: Samin Ahmadzadeh and Dinh Q. Lê. I had not heard of either of these artists and have enjoyed looking at their work – I particularly like the way the physical presentation of their work is such an integral part of how it should be read and how their art making process is driven by a need to understand their personal history and the wider world in general, and yet, defies simple reading and retains ambiguity.

Here are some notes about key aspects of the feedback alog with my thought sabout what to do next:

  • Assignment 1:
    • Introduction – rewrite introduction to incorporate my personal feelings about Stanley and how it could be read by the audience by incorporating wider themes such as urban decay and the current economic situation for small towns like Stanley.
      • I am going to give myself some time before going back to this as I am currently too close to the work and need some time to consider what this looks like.
    • Presentation – consider how I will present the work for assessment. Considerations:
      • Size of prints.
      • How would the images be displayed in a gallery setting and how do I show this in my presentation?
      • Should I present the physical composites or rephotograph and print these?
  • Blog:
    • Increase size of images in future posts to make them less dominated by text.
    • Include more draft images and contact sheets where appropriate.
  • Research:
    • Samin Ahmadzadeh (see here)
    • Dinh Q. Lê (see here)