Masoudeh Miri (b. 1985, Zahedan, Iran) is a Turin-based figurative artist whose practice converges at the intersection of painting and architecture. Formally trained in architecture in Italy, she developed her distinct painterly language independently, utilizing her spatial expertise to investigate the psychological layers of memory, environment, and female subjectivity.
Her background in architecture profoundly shapes her attention to structure, geometric tension, and the domestic or public thresholds her subjects inhabit. Subtle echoes of Persian visual traditions, literature, and spatial philosophy inform her work, particularly in the rendering of symbolic landscapes and suspended environments. Through complex, layered imagery developed primarily on paper, Masoudeh constructs visual narratives where bodies occupy fragile spaces of vulnerability, collective memory, and socio-political resistance. Her work has been exhibited both in Italy and internationally.
about
History and trauma leave silent traces within collective memory and the unconscious—fragments that continue to surface across generations. My practice is an excavation of these buried remnants, translating psychological weight into visceral, visual forms through painting.
Working extensively with acrylic and mixed media on paper, I embrace the specific physical vulnerability and tactile absorption of the paper support to mirror the fragility of the human condition. I construct layered figurative compositions where bodies, structural thresholds, and symbolic motifs coexist within tense, psychologically charged environments. Architecture is never merely a backdrop in my work; interiors, barriers, and unmoored structures function as critical devices through which emotional, historical, and gender-focused tensions emerge.
Drawing from contemporary literature, historical archives, and the lived experiences of women whose voices have been systematically marginalized, I approach the surface as a site of rigorous inquiry rather than passive illustration. I am compelled by what remains unresolved—the friction between protection and exposure, presence and absence. My recent practice marks a decisive shift toward large-scale, intricate compositions, transforming the pictorial space into immersive environments where the persistence of history and personal transformation demand a direct, physical encounter with the viewer.