Project Mahin is a crypto art project that showcases 60 unique tokenized illustrations. Each artwork represents a pair of breasts and indicates an alternative version after surgery. The art lovers will not only purchase the unique NFTs but also contribute to a good cause. The profit of the purchase price of these 60 illustrations will go to Breast Cancer Now, the premier breast cancer charity in the UK. These NFTs are autonomous and can change randomly. Each NFT has a 13% chance of being diagnosed with breast cancer. This number is precisely similar to the average risk of a woman developing breast cancer sometime in her life. 

Generally, the creators or the owners trigger the change in NFTs, but Project Mahin is entirely autonomous. It's tamper-proof, and no one can manipulate it. The NFTs by Armaghan Fatemi generate their own changes randomly.

Project Mahin will run for the next five years, and illustrations can randomly change within this period. The artwork will exist on the blockchain forever, but the random changes will gradually slow down after five years. 



Project Mahin

Silent Laughter

Fear of Hope is an installation of shiny gold and silver emergency blankets delicately attached at points, hanging from the ceiling. When I emigrated to Germany, I often came across photographs circulated in the media of refugees arriving in Germany, shrouded in the same gold and silver emergency blankets. I saw similarly haunting images in an Ai Wei Wei documentary, which inspired me to create Fear of Hope.

The colour of the blankets, alludes to precious metals, but unlike metal, the blankets can easily tear. While providing protection from the cold and the rain, they offer only a temporary solution for a much bigger problem. Fear of Hope poetically expresses the worry, that when a refugee has reached their destination, their journey may be far from over.

Fear of Hope

Invisible Hands is an accompanying installation to my three-part documentary of the same name. It consists of an unfinished hand-made carpet on a loom, all tools required in the weaving process; such as yarn, a knife, scissors, and a metal comb. An audio track introduces typical sounds surrounding the weaver as she works: tools sliding yarn over the loom, cutting thread, hammering to each row into place. The sound of children crying, a stove being turned on, a kettle boiling create a narrative. The creaking of the opening and closing of doors punctuates the weaver’s transition from one role (labourer) to another (housewife and mother). These audible interruptions reveal the concurrent obligations faced by the women weavers, who must simultaneously weave carpets for financial gain while performing domestic chores with no remuneration.



Far from the glamourised portrayals of professional weavers circulated by the media, my installation immerses the viewer in an environment, that highlights the women’s reality; poor working conditions and financial instability. I intentionally omit the weaver from the installation. Her absence strikingly emphasises the discrepancy between the value of her labour and the well-known value of a finished carpet, a luxury item.

Invisible Hands, installation

polymer clay and acrylic paint on Papier-mâché mannequin

Their Body

Acrylic and oil colour on self-made canvas

Untitled 4

Untitled 3 

Acrylic and oil pastel on self-made canvas

Untitled 2

Acrylic and oil Pastel on canvas on self-made canvas

untitled 1

#MAGA is an interactive casino-style slot machine game, inspired by Donald Trump’s 2016 campaign slogan, "Make America Great Again". The spinning wheels of the slot machine are activated by the player with a click of the mouse. When the wheels stop spinning on the screen, the letters must spell out M-A-G-A. Should an alternative to the letter G appear, the player is invited to find another adjective to replace G-reat. Only if M-A-G-A appears on the screen does the player win a coveted prize, a passport-photo-sized painting of Donald Trump printed on a sticker.

Turning the construction of a campaign slogan into a game comments on the randomness that characterised Trump’s 2016 Presidential campaign. And yet, the participatory aspect of #MAGA also alludes to Trump’s ability to engage with people through a rejection of intellectualism and the elite.

#MAGA 

The Caterpillar Who Didn’t Become a Butterfly is a series of five small looms with partially woven carpets I wove free-hand without a pattern. I want these works to highlight the freedom I can enjoy in weaving purely as a hobby, in which the completion of the carpet is inconsequential to my livelihood. By contrast, professional carpet weavers in Iran often work tirelessly for up to 6 months to finish one carpet, to earn money to support their families.

The bright colours of the unfinished woven textiles are imbued with a sense of levity, reflecting the leisurely conditions of the labour that bore them. To me, the finished product is less important than the process of weaving, which has afforded me a greater appreciation for the professional weavers labour.

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