Farshad Farzankia's paintings are a plunge into the multi-perspectival. Creating a sense of both disorientation and fascination, the layers of figures—coupled with a rush of colours—communicate the intensity of Farzankia’s emotional response to his subject matter, be it the vitality of human connections or the fragility of existence. Farzankia's inaugural solo exhibition at SOCO Gallery, North Carolina, She Rose (September 12-November 1, 2023), was characteristically powerful. The title of the art exhibition is derived from Emily Dickinson’s poem, She Rose to His Requirement (1864). The resilience and rebellious tone and tenor of the poem for Farzankia resonate with the indomitable spirits of the supporters of the 'Woman, Life, Freedom' movement, which is dedicated to the rights of women in Iran. The thematic parallels between Dickinson's poem and Farzankia's support for women's rights create a powerful synergy, elevating the exhibition from a mere display of art to a platform for social dialogue. Consequently, She Rose not only underlines the Iranian artist's technical prowess but also invites the viewers to engage in a cerebral exploration of the intersection between art, poetry, and advocacy—an event of artistic expression with a purpose.

Born in Tehran in 1980, Farzankia embarked on a journey of refuge to Denmark in 1989, accompanied by his mother and brother. In a Nordic nation that proved itself to be a homogenous environment, Farzankia found himself compelled to contemplate his identity. A fan of the Iranian film director Abbas Kiarostami, Farzankia always wanted to make movies, an interest that could not be translated into a reality. The elements populating his paintings run across in front of the eyes as if celluloid cajoles the viewers to grasp the sequence of the visual features composed for a camera frame. The eyes move, pause and ponder to absorb the paintings punctuated by androgynous figures, avian forms, botanical elements and enigmatic symbols—a representational expression of cultural amalgamation. The intricate frames stand as a testament to his unique perspective, shaped by his Iranian roots and Danish upbringing. Inspired by the vocabulary of Neo-Expressionism, Farzankia's expansive and iconic paintings realign cultural references spanning decades, from the 1980s to the contemporary era, weaving captivating narratives within his works. The exhibition features a diverse range of artwork including new paintings, drawings and wooden panels. Within this tapestry, he introduces icons of personal significance, constructing a rich repository of symbolic vocabulary.

The painting ghosts rose from the garden… spiderweb (2023) is a blend of mystique and intricacy. The enigma of the title is enhanced by the imagery. Farzankia does not include a rose in the painting; instead, it features multiple eyes framed in a variety of forms against the deep red canvas. The strokes of bold colour in Farzankia’s works not only intensify them but also anchor a sense of wonder and reverence. The work sacred people doomed (2023) gestures at a sense of paradox. Against a domineering black backdrop, the elements populating the painting—human faces, circles and rectangles—stand opposite each other in isolation. Unlike ghosts rose from the garden… spiderweb, the figures in this painting refrain from being connected. sacred people doomed is a captivating piece that encourages viewers to reflect on the intricate tapestry of human existence, where strength and fragility are associated with individuality before it is metamorphosed into a collective action in the face of human atrocities.

As Farzankia delves into the realm of cross-cultural interpretation, his palette is accompanied by an expressive selection of symbols: each laden with profound personal and political significance. In other words, the artist's brushstrokes and choice of materials are an extension of the activism, conveying a message that extends beyond the confines of the gallery walls. Driven by instinct and his emotions, embedded in the works are notions of an equitable world where freedom and empowerment are habitually experienced.

Such an approach begins with quick sketches. The imagery "slowly evolves much like stories in single frames, where separate paintings often flow together, creating a story like a chapter book. These are existential landscapes with abstracted figures and symbols that hold meanings across borders, culture, and media,” as mentioned in the press release. Part of the work’s appeal is its intentional design to welcome a multitude of interpretations. Although referencing certain phenomena, Farzankia’s work transcends time; it is cognisant of the present without losing an eye on the past to prepare us for the future. The recurring cultural motifs found in Farzankia’s works are a way towards underlining the unbroken thread of connection across time immemorial.