VIDEO · 2026

VIDEO WORKS

Short video works exploring everyday rituals, the body, solitude, domestic space, and the rhythms of daily life.

Bio

Sinur (born in 1986 in Mahabad, Iran) is a visual artist whose practice is rooted primarily in painting. Her artistic path began with painting in 2014 and has remained at the centre of her practice ever since. Depending on the needs of each idea, she experiments with various tools and processes, from painting and drawing on fabric and working with stitch to incorporating text and her more recent explorations in video.

Statement

My artistic practice is a method of exploring, seeing, internalizing, and, literally, surviving the external world while striving to produce from it works that return something significant. My experience in the geographical and cultural environments I have inhabited has included incidents of direct and at times acute gender inequality that have informed my work. I do not, however, consider my artistic practice to be a recounting of such experiences or a relief from their effects. I am not a narrator of human suffering.
The primary focus of my artistic practice is the body—not as a fixed or idealized form, but as a living corporal presence who bears scars and wounds, physical signs of old age, contorted postures, and strained movements attesting to physical, emotional, and psychological effects of life experiences, including psychological experiences that have altered the corporal state. At one point, I began to focus on a wound’s healing process, on what a scar contributes to a body, and how a body reveals itself through postures and facial expressions. Some are recognizable in my self-portraits. In other works, my figures metamorphose into birds, animals, and fantastical beings.
Living and traveling in different cultural spheres have exposed me to new methods, surfaces, and materials. I began using raw cloth as a working surface, drawing both on Iranian visual and narrative curtain traditions and on my lived memory of women’s practices of working with fabric. A cloth’s weave, flexibility, and mobility form part of a work’s material identity and enable it to be carried and folded as well as hung or laid, sewn, or even worn.
In recent years my artistic practice has widened to include careful study of mythology, especially Iranian and Kurdish creation myths. I am interested in how ancient people imagined themselves, how they imagined the first body, how it was formed, what brought it to life, and what relationship they believed existed between the physical body, the soul, light, and other immaterial forces. My interest in these myths is not limited to their past or to their poetic beauty; I am interested in how enduring ideas about the body, its origins, and humanity’s place in the world continue to shape contemporary conceptions of self. Within this process, painting and image-making become methods of research in their own right rather than merely means of representing its results.

Get in Touch

• Email — [email protected]
• Instagram — @sinur.pal
• X / Twitter — @sinursnr

• YouTube — Sinur

← Back to series

The Secret Is in the Words, Not Behind Them, 2026
Ink and fabric paint on unbleached cotton fabric
50 × 100 cm

← Back to series

The Watchful Non-Migrant Bird, 2024
Oil paint and fabric paint on fabric
100 × 130 cm