Nasrin Iravani is a Doctor of Design in Cultural Preservation candidate at Louisiana State University. With a focus on Fabricative Cultures (Materials and Technology), her current research is to build a bridge between traditional values/arts and modern technologies/concepts to create a contemporary cross-cultural digital design of ceramic artwork. She has received her Master of Fine Art in Ceramic from the University of Alabama where she formed her art style engaged in a dialogue between Persian traditional art and western contemporary art.
She has maintained ceramic and painting practices where the compositional equilibrium has been inspired by Persian art notable for its exemplary combination of geometric patterns and organic shapes. In addition, her ceramic objects highlight a relationship between the human body and organic forms as well as natural and synthetic processes. Her educational background including Bachelor’s and Master’s in Handicrafts from Tehran University of Art provided her with good knowledge about historical and cultural perspectives in the arts.
Iravani has participated in many national and international art exhibitions such as London Art Biennale in London (UK), Artigiano in Fiera Exhibition in Milan (Italy), Fitur exhibition in Madrid (Spain), International Handicraft Exhibition in Tehran (Iran), Clay Studio National in Philadelphia, PA (US), San Angelo National Ceramic Competition in San Angelo, TX (US), to name a few. She is pursuing an active career both as an artist and scholar incorporating new methods and computer-aided technologies into creative art practices.
Visit Nasrin Iravani’s website and Instagram page.
Featured work
Magnanimous Moment of Departure!, 2020
I’m a woman here standing in the mist!, 2019
My work establishes a dialogue between traditional Persian art and western contemporary art. I juxtapose these two concepts in physical forms to build a bridge between traditional values and contemporary concepts. The ceramic sculptures exist free from oppressive categorization that often result in the meaning of ceramic objects itself being overlooked. The objects I create are ambiguous in form and seemingly nonsensical in their finishes. With layers of glaze applied to the surface, they retain a decorative quality embedded in the history of functional ceramics. I also maintain a painting practice where the compositional equilibrium is inspired by Persian art notable for its exemplary combination of geometric patterns and organic shapes. Existing in opposition to each other, my ceramic sculpture highlights a relationship between the human body and organic forms and natural and synthetic processes.
