Yasmeen Abedifard
b. 1996, San Jose CA

Yasmeen received her BA in Psychology with Honors from University of San Francisco in 2018 and is a MFA candidate at Cornell University (2020). Yasmeen’s recently exhibited at 'Eudaimonia: The 19th Thacher Art + Architecture Annual' in San Francisco CA, (2018) where she was awarded the Mary and Carter Thacher Prize, and organized a group exhibition for 'A Time to Break Silence: Resisting Islamophobia in a Trump Era' in San Francisco, CA (2017) 
It is an effortless task to compartmentalize my existence as an artist to just being an Iranian-American Muslim Woman. However, these false conceptions become simplifications of my own person, but what I have come to realize is that these aspects of my life are rather authentic influences upon my work. I think it is important to understand that my artwork comes from a place impacted by these aspects of my history and my being. Even further, I have and will attempt in the future to use my platform as an artist as a means of amplifying the experience as someone often mischaracterized as a complaisant, two-dimensional figure puppeteered by dogma. As a person who became heavily influenced by academia such as historical, psychological and political theory, I had a gradual transition into seeing art as something with meaning rather than devoid of purpose. As for my body of work, I am particularly interested in figurative erotic depictions of gender/sexuality laced with themes of Islam, political history, and my Persian heritage. I favor pieces that are cathartic and nurturing experiences for the artist (myself) and for the audience of the piece. However, I also seek to depict the raw nature of loss, transiency, and the illicitness of my own existence. Often this is in confluence with ontological truths present throughout the universe through divine gnosis. Due to this, most of my art is expressive of my experience, past, and identity through other objects, beings, or histories. My practice includes installations, found objects, and figurative illustrative art featuring subjects of female, male, and ungendered origins in order to elicit nostalgia for fantastical historical epistles. Ultimately, I cater towards allowing the viewer to interpret the intention of the work rather than proposing polemics with the viewer
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