My practice is rooted in a search for universal evocations of loss and longing, often described as melancholia, the Portuguese saudade, or the Turkish huzun. I work with imperfect materials: poorly framed or overexposed family photos, shaky or blurred amateur clips, or pixelated, low quality video recordings. My work mines public, personal, and historical archives, manipulating, and layering found images and videos to elicit feelings of displacement, tragedy, and instability.
I usually work in multiple, but my work is not editioned: the repetition of imagery serves as distinct and alternative versions of history, memory, people, and place. Archeology of technologies such as super 8 home-videos and early computer graphics, as well as printmaking techniques help me navigate between still images and time-based mediums to explore fragile states of being and the idea of home that never materialize.
Nazanin Noroozi is a multi-disciplinary artist incorporating moving images, printmaking and alternative photography processes to reflect on notions of collective memory and displacement. Noroozi’s work has been widely exhibited at galleries and museums across the world including SPACES, Cleveland, OH; Athopos, Athens, Greece; Golestani Gallery, Dusseldorf, Germany; Immigrant Artist Biennial, NARS, Brooklyn; Noyes Museum of Art, New Jersey; as well as NY Live Arts, School of Visual Arts, and Postcrypt Art Gallery at Columbia University. She is the recipient of awards and fellowships from New York Foundation for the Arts Fellowship (film and video), Marabeth Cohen-Tyler Print/Paper Fellowship at Dieu Donne, Artistic Freedom Initiative, Elizabeth Foundation for the Arts, and Mass MoCA residency. She is an editor at large of Kaarnamaa; A Journal of Art History and Criticism. Noroozi completed her MFA in painting and drawing from Pratt Institute. Her works have been featured in various publications and media including, Die Zeit Magazine, Evergreen Review, BBC, Elephant Magazine, Financial Times, and Brooklyn Rail.