On the Works of Yasaman Molasalehi;
A Voice Calls You Home
Yasaman Molasalehi, an Iranian artist based in Manchester, received her MA in Visual Arts from the University of Art in Tehran and later, in 1403 (2024–25), graduated with distinction from the Manchester School of Art with a master’s degree in Painting.
Shahrzad Rouyaei
Yasaman Molasalehi, an Iranian artist based in Manchester, received her MA in Visual Arts from the University of Art in Tehran and later, in 1403 (2024–25), graduated with distinction from the Manchester School of Art with a master’s degree in Painting. Her first solo exhibition in the UK presented works from her MA thesis and was held at the Holden Gallery in Manchester in September 2024 (Shahrivar–Mehr 1403).
Molasalehi’s emphasis is largely on womanhood and on memories etched in her mind as a migrant. Translating or visually articulating these two themes in painting is not easy; however, her solution can be sought within one of the common currents among diaspora artists—migrant artists who emphasize their Iranian identity by referencing visual elements rooted in Iranian art. The painter herself describes this reference as stemming from her interest in Iranian miniature painting. It appears that this approach in diaspora art has both economic and personal/identity-related dimensions. On the one hand, the visual elements of Iranian art are unfamiliar to non-Iranian viewers and buyers and possess qualities less commonly seen in the works of native, non-migrant artists; on the other hand, such emphases help artists living and working outside Iran to recall their connection to their origins and, in this respect, assist in consolidating their identity in migration.
For Yasaman Molasalehi, the second aspect—the effort to strengthen identity as a migrant artist—seems to be of greater importance. At least, based on her artist statement, one can conclude that this emphasis on origin and identity formation matters more to her; from this perspective, her reference to miniature painting is likely a reminder of that origin and a manifestation of her emphasis on identity.
Beyond this, Molasalehi’s works can be divided into several periods. In her earlier works, one can both trace her attempts to reconstruct and reference the traditions of miniature painting (especially so-called contemporary miniature) and observe how she seeks to achieve an intriguing composition by combining Iranian architectural elements (from windcatchers to even Tehran’s Azadi Tower) with a space dense with diverse visual elements—compositions that may be described as dreamlike or even reminiscent of Surrealist works. As she notes in the statement related to this period, one can also see figures whose gender is not clearly defined. In this phase, the varied visual elements are arranged in a way that conveys the multicultural theme of the works.
After this period, the artist’s references to miniature painting become more explicit. In several paintings, one can see her efforts to recreate the tradition of manuscript production. In these works, she sometimes employs the conventional perspective of miniature painting to evoke a distinctive visual space. At the same time, she attempts to revive techniques such as outlining and modeling (qalam-giri and pardaz) alongside newer painting techniques and within a fresh framework. The works of this phase can perhaps be regarded as a bridge between the first period and the subsequent one.
In her more recent works, Molasalehi moves toward pieces that might be described as abstract. Her brushstrokes and use of curvilinear lines evoke forms of miniature painting in the viewer’s eye. Her use of color in this period is bolder, and the visual space more pleasing. The juxtaposition of blues and reds creates an engaging visual interplay that draws the viewer in. It seems that the artist is stepping into a space that both opens the way for her future practice and is visually beautiful and striking.
Despite these differences, one can also point to shared characteristics across her works: a strong sense of movement; the use of trembling lines and curves that both recall miniature painting and help create a dynamic space, transmitting this energy and vitality to the viewer. The trajectory of her work also suggests that she no longer seeks to place heterogeneous visual elements side by side; rather, through greater emphasis on color and rounded, fluid forms, she both underscores her origin—Iranian miniature painting—and largely reconstructs a personal visual space connected to that origin. In this respect, she is moving toward the goals emphasized in her statement. Yasaman Molasalehi is striving to explore her identity as a migrant woman artist through her work; she is still at the beginning of her path, with a long road ahead.