Didar with Mina Moshajjari, a Solo Exhibition

Artist: Mina Moshajjari

2 - 16 January 2026

Untitled from «Intervention» Series, Acrylic Paint, Acrylic Ink, and Colored pencil on canvas, 80 × 100 cm, 2024

To view all the works and their information, download the exhibition catalog.

Statement

The relationship between humans and the Earth — which for Mina Moshajjari is defined as landscape — plays a significant role in shaping her work. These landscapes have always been perceived through intermediaries; intermediaries that have continually shifted and ultimately become the primary subject themselves. This mediation in understanding Earth-related phenomena occurs through diagrams and images: reference images that are represented through intermediacy while simultaneously functioning as mediators of both reality and perception

In the Intervention series, landscapes have been examined that, on one hand, lie beyond ordinary human access, and on the other hand, contain geometric formations that signal traces of human presence. Within these scenes, icebergs undergo transformation without any direct human presence being visible. Such changes may be understood as the Earth’s response to the indirect interventions of humankind; developments that may arise from a collaboration between the two, or from the independent action of each.

About The Artist(s)

Mina Moshajjari (born 1998, Kashan) is an Iranian artist who received her BFA in Painting from the University of Art in Tehran and is currently pursuing her MFA at the University of Ottawa in Canada. Her practice is centered on the notion of landscape and the complex relationship between humans and the earth—a relationship that, for her, is not merely a visual concern but a conceptual and experiential foundation.

The origin of this inquiry can be traced back to her early encounters with the landscapes between Kashan and Tehran, where her perception of the environment was shaped through the car window, always mediated, always at a distance. This distance later became a conceptual component in her work. The linguistic contrast between the English word “landscape”—referring to the land itself—and the Persian word “manzareh,” rooted in the act of “seeing,” signals for her a fundamental separation between humans and what they observe.

Moshajjari’s process begins with research, collecting information, and navigating through images. By drawing on photographs, charts, and geological diagrams, she constructs a visual language in which transparent and semi-transparent geometric layers play a crucial role. These layers reveal the traces beneath them, allowing looking, reading, and analyzing the landscape to occur simultaneously. For her, the formation of each work—and its link to earlier works—is vital. Each series emerges from a back-and-forth dialogue with previous bodies of work, maintaining continuity while preserving its own independence.