Fatemeh Boroujeni: The Role of the Humble Brush

Exploring the contrasts of our inner and outer selves through bold, decorative and meticulous repositioning of brush bristles in contemporary jewellery.

Fatemeh Boroujeni

Fatemeh Boroujeni is an ethnic Bakhtiari from Iran who arrived in Australia in 2010.

Using the technique of repoussé with contemporary designs, Boroujeni makes bold artworks in which the imprint and heritage of her Persian home city of Isfahan can be seen in the decorative use of brush bristles and other details.

Boroujeni feels her work, drawing as it does on her cross-cultural background and global influences, creates a contemporary dialogue that combines points of view in surprising ways.

Cuddlyous (2020) by Fatemeh Boroujeni and Photo: Rob FrithMuseum of Freedom and Tolerance

Cuddlyous

Hand carved pine wood, oxidized silver, brush bristles.

Boroujeni utilises the brush itself in combination with wood, silver and copper to create a rich connection to her heritage.

Instead of seeing the brush as a tool or a device, she uses it as an untainted material, carefully and respectfully giving it a place within contemporary jewellery.

The Firmament, Fatemeh Boroujeni, Photo: Rob Frith, 2018, From the collection of: Museum of Freedom and Tolerance
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What I am, Fatemeh Boroujeni, Photo: Rob Frith, 2015, From the collection of: Museum of Freedom and Tolerance
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It’s all about me, Fatemeh Boroujeni, Photo: Rob Frith, 2015, From the collection of: Museum of Freedom and Tolerance
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Fatemeh Boroujeni (2020) by Fatemeh BoroujeniMuseum of Freedom and Tolerance

Watch: Fatemeh Boroujeni

"When I look at my pieces, I really see myself. The materials I pick, I know it comes from somewhere in the history of my life."

Shams (2017) by Fatemeh Boroujeni and Photo: Rob FrithMuseum of Freedom and Tolerance

Shams

Ring; oxidized copper, 925 silver, brush bristles.

“I am inspired by the humble brush; this tool has infinite potential. In this collection I have deconstructed the brush to its most basic elements and used the contrasts of light and dark, soft and hard, dull and shiny to create works that symbolise the different sides of our inner and outer selves.” – Fatemeh Boroujeni

Kashkool, Fatemeh Boroujeni, Photo: Rob Frith, 2020, From the collection of: Museum of Freedom and Tolerance
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River, Sun and the Farm, Fatemeh Boroujeni, Photo: Rob Frith, 2015, From the collection of: Museum of Freedom and Tolerance
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Saboo, Fatemeh Boroujeni, Photo: Rob Frith, 2020, From the collection of: Museum of Freedom and Tolerance
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About the Connexions Exhibit

Organised by Blandine Hallé and Melissa Cameron, Connexions came from a desire to share contemporary Australian jewellery with the world.

This became augmented by what Hallé and Cameron wanted to share about Australia, versus what was at the forefront of the news media at the time; namely the Christchurch Massacres, perpetrated by an Australian.

Selected for their existing contribution to this dialogue, each artist mines and interrogates their own histories for their artwork. Together, the complex, nuanced and diverse works portray Australia as a community that respects difference and honours diversity and complexity, more effectively than any single dialogue in which we might hope to engage could.

Credits: Story

All works by Fatemeh Boroujeni for Connexions exhibition at Galerie Assemblages, 13 - 31 October 2020. All photographs by Rob Frith. Words by Laura Deakin and Melissa Cameron.

Header Image: “Shams” (2017) by Fatemeh Boroujeni, photographed by Rob Frith. (Ring; oxidized copper, 925 silver, brush bristles.)

Short Films by VAM Media
Filming & Production: Brendan Hutchens
Post Production: Steven Alyian
Music: Envelope

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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