Untitled # 1, 2018, Archival inkjet print in museum shadow box, 16.75” W x 10.5”H x 6.5"D.       Through deliberate, photo-sculptural visual strategies, I reveal the possibility to change (or at least interrogate) the epidemic formula of narrowly objectifying representations of female identity. By operating simultaneously on multiple levels of social, cultural, and political complexities, I employ the transformative power of photography to continually shift the register of portrayal between the subject and object-hood of the feminine.  Objet Fatale  re-invests women’s bodies with layered, complex, frustratingly ambiguous, and rich meaning to empower women, not to reduce them to simple objects of desire.
       
     
 Untitled # 01, 2017, 4x5 film, archival inkjet print, 16 x 24”  During my exploration process, I experiment with combining photography and sculpture to present objectification in different locations, levels and ways. I aim to make the viewer question the role of women in society. In this project, I photograph women in the museum setting to equate women’s value with the function of an object in a museum. In the new approach, I represent woman as a museum sculpture like the way a bust is displayed in the museum to reference the fantasy of perfection and worth which is a universal issue in women’s objectification. Thus, my entire body of work tries to communicate the idea that objectification of women occurs across countries, societies and religions, while also highlighting the paradoxical nature of simultaneous value and oppression.
       
     
       
     
       
     
       
     
 Following Mona on her path of photography you may notice that she has always been obsessed with body or better say with eliminating body. I wonder what drives the temptation for this elimination?! Her beliefs? Her background? Or it is just her artist inside who likes this game? Anyway what so ever it is; this pushes her to get rid of the element of body in her works as if her body is a burden she doesn’t know what to do with.Since her previous exhibition on the fall of 2006 onward all she does is about dissolving body in space and objects around. While in this collection this ends in complete elimination of body. And so we face body as dress stand?! Or better say as we see in her photos dress stand as body! More over an Art Deco dress stand with almost no place in the pictorial memory of we Iranians and more looks like crucified phallus! Yes that grotesque, that far and that cold. In this collection artist transmutes the body and its identity to a figure that actually does not exist in a nonexistent background with an atmosphere of nothingness; maybe just to tell us that in our time our bodies are nothing but some dress stands what so ever; no matter if we cover it with a beautiful dress or a shroud or even leave it naked.  Farhad Azarin Atbin Art Gallery Owner Spring of 2011