Gita Meh/History
Gita Meh not only employs a fusion of digital and traditional art but also pursues a conceptual approach to representation, portraying history not merely as a linear narrative but as an experiential and emotional space. Her works are initially composed in a digital environment using Photoshop, allowing her to integrate various elements such as historical imagery, maps, ancient texts, architecture, and cultural symbols. This composition forms the foundational scene upon which her paintings are built. Once the digital scene is prepared, it is printed onto canvas, providing a base for the painting process. At this stage, all symbols of power, history, violence, and civilization appear as a silent and static background on the canvas. This is where Meh’s artistic intervention begins - women, mothers, children, and single-parent families emerge within this setting. These figures are designed in a way that they rely on the architecture and structures present in the painting, as if they are the very pillars and walls that shape history. Calligraphy in her works serves not merely as an ornamental feature but as a structural element that shapes both form and meaning. Using script, she constructs human bodies, suggesting that the identity of these individuals is embedded in words, in language, and in historical memory. From a visual and conceptual standpoint, the central role of women in Meh’s works is not limited to their presence as visual forms; they reflect identity, history, and resistance. She does not depict historical heritage as a mere emblem of authority but as a witness to cultural and social transformations. Her works narrate the destiny of generations in search of identity - not in a fixed location but along a continuous and evolving path. This exhibition presents an opportunity to closely observe these intricate visual and conceptual layers and to experience the tangible interplay between past and present, tradition and modernity, power and fragility.Catalog
Gita Meh/Silence
Gita Meh’s sculptures are simultaneously heavy and delicate; forged from cold metal, yet poetically portraying the female form - not merely as a biological body, but as a culturally constructed text. These sculptures take shape from cut metal sheets, each engraved with a combination of cuneiform letters. However, the artist has not used these letters as mere historical inscriptions; rather, they function as the structural elements of the body itself - a body that, while representing form, undergoes re-composition to create new meaning. Cuneiform script, once the language of the Achaemenid Empire, is now transformed into a bodily language - a feminine language extracted from the depths of history and metal. Within these works, there is a subtle yet powerful reference to the role of women, particularly mothers, in ancient Persian culture. These sculptures not only evoke an ancient aesthetic but also revisit the foundational role of women in cultural and civilizational existence. Here, the female body is not merely an artistic subject but a bearer of meaning and historical memory. Another intriguing aspect of these sculptures is the interplay of light and shadow on gallery walls and floors. The metal letters that form the sculptures project their presence anew through shadows, creating secondary imprints of the female form on the walls - ephemeral yet meaningful figures that add layers to the viewing experience. Even the base upon which each sculpture stands is not merely structural; it contributes to the overall composition, giving the piece a sense of stability and grandeur. Ultimately, these works emerge from a delicate intersection of history, body, language, and light - metallic narratives of motherhood that are rooted not only in human existence but also in language and culture. This art takes shape at the crossroads of history and identity, where ancient scripts are revived to invite reflection on the forgotten role of mothers in this land.Catalog
Gita Meh/Identity
Encountering Gita Meh’s works means facing a world where nature is not only the setting for creation but also becomes the subject and main actor. The stones, gathered from nature itself, are placed in an unconventional and direct relationship with one another - without adhesive, without tools - solely relying on gravity and an intuitive skill in finding points of balance. This quality evokes not only a concept of physical equilibrium but also a metaphor for inner balance, embedded in a silence intertwined with meditation. Yet, the artist does not stop there; she paints portraits on the surface of these silent objects, as if they have emerged from within the stones themselves. The black lines of flowers, faces, and abstract shapes do not serve merely as ornamentation but rather act as a revelation of hidden identity or a summoning of the spirit within the solid body. The stones suddenly transform into characters - mute speakers who summon the viewer not through sound but through gaze and presence, drawing them into an internal dialogue. The environmental aspect of this collection is undeniably significant. Using found materials in their natural form, adhering to their original shape, and avoiding any destructive intervention place these works within the realm of Environmental Art. However, unlike many artworks of this genre that focus on ecological awareness or environmental warnings, here, we encounter a more poetic approach - a kind of aesthetic revival in seemingly lifeless elements. Ultimately, Gita Meh’s stones invite us to observe a world where the distinction between object and subject, nature and human, viewer and the viewed collapses. Like small sculptures, standing in dignity and silence, these stones draw the viewer’s gaze inward - holding secrets that can only be heard in moments of pause and contemplation.Catalog
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