Tannaz Farsi’s practice straddles sculpture, installation and image making allowing her to work within a serial structure to create interdependencies in meaning. She uses organic materials such as flowers and plants, creates spatial compositions from light, air, words and continually engages with the history and specificity of objects to critically address broader socio-political systems through both an analytical and poetic framework. Farsi’s research draws from historic cultural objects, feminist histories, and theories of displacement evidenced by long standing colonialist and authoritarian interventions into daily life to complicate the network of relations around conception of memory, history, identity and geography.

Farsi’s work has been exhibited at venues including SFAC Galleries, San Francisco; Portland Institute of Contemporary Art, Portland; Disjecta Art Center, Portland; Linfield Gallery McMinnville, ; Pitzer College Art Galleries, Claremont; Tacoma Art Museum, Tacoma; the Urban Institute of Contemporary Art, Grand Rapids; Delaware Center for the Contemporary Arts, Wilmington; and The Sculpture Center, Cleveland. She has been granted residencies at Bemis Center for Contemporary Art, Ucross Foundation, the MacDowell Colony, Studios at Mass MOCA, Santa Fe Art Institute and the Rauschenberg Foundation. Her work has been supported through grants and awards from the Oregon Arts Commission, National Endowment for the Arts, University of Oregon and the Ford Family Foundation. She received a Hallie Ford Fellowship in 2014 and was named the twenty-eighth Bonnie Bronson Fellow in 2019. Born in Iran, Farsi lives and works in Eugene, OR where she is on the faculty at the University of Oregon.

The Names [state III], 2019, powder coated steel

Tyrrany stops life., 2109, Iranian rug, silica grit, aluminum, archival ink jet print, polyester film, dried tulip petals