FOREWORD Founded in 2013 under 69 fine art Gallery, Vallette Gallery represents a broad range of innovative local and international artists who are active in the fields of painting, sculpture, photography and installation. Based in Kuala Lumpur, our boutique Gallery is a strong advocate for building long lasting and trusting relationships between artists, collectors and art lovers, both locally and internationally. Guided by our passion for artistic excellence, we provide a creative space as a platform where artists meet and exchange ideas. We are excited to host a one-of-a-kind virtual solo exhibition “The Peculiar Box(Andaruni)” featuring emerging international artist Neda Tavallaee. Based in Terhan, Neda is one of the most talented artists of her generation. Aptly named, The Peculiar Box-Andaruni tells the story of struggles and strengths of women who were kept out of sight in a separate section at the back of houses called “Andaruni”, about survival and generations of being subject to this gender-based mistreatment. At Vallette Gallery, this dynamic time presents the opportunity to stay agile and relevant through exploring new ways to adapt to this ever evolving landscape. Now more than ever, we recognise the importance of remaining united and resilient as a community. Through “The Peculiar Box (Andaruni)”, we invite you to connect with the artist to stimulate your mind, express yourself and communicate. Patrice Vallette Director & Curator
Storytelling has been with us since the beginning of time. Even caves are full of mystical images of how humans lived and what mattered to them the most thousands of years ago.As a species It has always been important to create a visual dialogue of how we lived and felt experiencing life. This is a day an age where we are mostly confided in our homes because of the virus,leaving us feeling boxed or caged.How to survive is a major issue as the pressure on our mentality tests our limits on a daily basis,still we have no clue to when this situation will end or if it will shift towards the worst. Forced lockdown encouraged me to think about the way we cope with confinement, whether it be because of a virus,culture or fear. How do we keep our minds active? What pushes hope to survive? Can thinking about positive events in the past or future help? It is not always easy to face yourself ,but trying times also act as mirrors to test our love and strength. I choose to visualize myself trapped inside a peculiar box filled to the rim with memories of simple and complex issues to reflect on. In my works I depict the everyday life of women.It might not be glamorous, but it still has beauty and magic hidden even among the simplest things. How we observe a situation is vital to in what manner we choose to abide.Some things are hard to verbalize and easier to paint about.It is a difficult day and age for all around the world as we suffer from similar hardships therefore it is easy to relate to each other and important to share our stories of these strange times. Neda Tavallaee
THE PECULIAR BOX (ANDARUNI) Art has always been one of the few doors that could open a way for voices to be heard. Through art, artists tell forbidden stories of love, hate, great injustice and the mighty struggle endured in order to create a dialogue. One such example is Iranian artist, Neda Tavallaee, who’s works mostly concerned women. Her paintings shed light on sex workers, homosexual relationships and issues that tackle rules about how women should dress and present themselves within society. Through her paintings, she wishes to raise awareness about these issues and be part of a cultural shift in how women are treated. “Storytelling has been with us since the beginning of time. Even caves are full of mystical images of how humans lived and what mattered to them the most thousands of years ago and as a species, it has always been important to create a visual dialogue of how we lived and felt. This is a day and age where we are mostly confined in our homes because of the virus, leaving us feeling boxed or caged. How to survive is a major issue as the pressure on our mentality tests our limits daily, still, we have
no clue as to when this situation will end or if it will shift towards the worst. A forced lockdown has made me think about the way we cope with confinement, whether it be because of a virus, culture, or fear. How do we keep our minds active? What pushes hope to survive? Will thinking about positive events in the past or future help? I come from a culture that used to have a separate section in the back of the houses called “Andaruni” for women to be kept out of sight yet they managed to survive and teach generations of girls the importance of freedom and education, never giving up. In the end, they burst out of that genderbased bubble and strived to be strong, independent individuals, although this fight took generations to be won. I know it is important to speak about the lives of women in the Middle East. They are the foundation of our culture and the keepers of our heritage. But in the end, I can honestly depict my own story because the impact of what I lived through has cut deep into my bones only. So I paint about my life, my hopes, and my dreams while adding bits and
pieces from secret tales whispered to me in private. It is not always easy to face yourself, but trying times also act as mirrors to test our love and strength. I choose to visualize myself trapped inside a peculiar box filled to the brim with memories of simple and complex issues to reflect on. It seems that after many lifetimes, once again, I am trapped in the Andaruni, struggling to find freedom and clawing at these walls that hold me back from the world in hopes of creating a window to jump through. In my works, I depict the everyday life of a woman. It might not be glamorous, but it still has beauty and magic hidden even among the simplest things. How we observe a situation is vital to in what manner we choose to abide. Some things are harder to verbalize and easier to paint about. Iranian women mostly talk with their eyes, as enduring without complaining is expected of us. Maybe talking about a subject can be difficult, but through art, one can repeat the process and keep looking and probing until you have a vivid image of what happened and the effect it had. It is a difficult day and age for all of us around the world as we suffer from similar hardships therefore it is easy to relate to each other and important to share our stories of these strange times. As an Iranian woman, daughter and wife, I want to be able to illuminate this never-ending quest for
finding happiness even though sometimes it seems impossible”, elaborates Neda. Working across various medium but predominantly painting – Neda’s femalecentric images tackle subjects that could be deemed controversial and dangerous in her native Iran. Her paintings embody softness that one would not expect to see in works on such divisive issues. The women in Neda’s paintings look sweet, with angelic faces, pastel coloured skin and gentle smiles. They mostly seem happy, but if you look closer, you will find that they are missing that glint in their eyes and the way they clutch their face, implies that something is amiss. And, despite the often-heavy subject matter of her work, Neda’s paintings seem hopeful, light and airy. She is inspired by traditional compositions in Persian miniatures, as well as Chagall, Matisse and Picasso. “I think I have a tendency towards artists that adored women”, says Neda, “And how that touched them, influencing their brush strokes and colours.” She cites Cy Twombly, Albert Oehlen and Alice Neel amongst her inspirations. Born in 1973 and studied art at the University of Fine Arts in her hometown Tehran, Neda Tavallaee grew up in England until the age of ten. She returned to Iran with her family after the revolution, in the middle of the Iran-Iraq war. Neda currently lives in a garden in the
Alborz province with her husband, two dogs, two canaries and five fish, where she works in harmony away from the humdrum and pollution of Tehran. There is a world, outside these walls, every time it rains, i taste it. I come from a long line of women who were artists. We were never allowed to freely create as the Iranian society shunned free women. I am the voice of my ancestors. Through painting, I have the means to express the deep pain and disappointment I harbour in myself as a woman living in Iran. When you start painting, the only way is to be honest and free otherwise the magic is gone. My life is a juxtaposition of contradictions that creates a fragile sense of balance. As a person, I try to look at different angles of every situation and it is the same when I work on a composition. Sometimes everything works better topsy-turvy. So I rotate visual elements because they make sense to me when displaced or stacked together. I feel I am trapped in a box in this country with the knowledge of a better world lingering elsewhere. So I use the paper or canvas as I would a box, filling it with memories and hopes or even thoughts. Then I shut the lid
and keep the story safe. There are many things to be told about a lifetime in visual elements. I create my own language of symbols with cigarettes, hands, eyes, birds, flowers and all that surround me on a daily basis. My own kind of hieroglyphics that need no deciphering. I portray women who are silent or when verbal make no sound. Women who stare at you and speak with their eyes. Women who smoke cigarettes instead of screaming when betrayed, hurt and scared. Birds and fish that symbolize clinging to hope... hope for a better life. Cats that are a reminder of luxuries denied. Flowers that come at Spring and die before the Summer ends, as a reminder of the fading beauty of youth and the sorrow of living an unfulfilled life. Yet through this sadness, I have tried to keep my sense of humour, adding vibrant colours or thick lines and spots that prance and dance during this masquerade that is my life, because deep down, I feel this is not a tragedy, but more of a romantic comedy where everything will work out somehow. And this keeps me going as the storyteller eager to reach the happy chapters. Neda Tavallaee
A familiarity of old habits Mixed media on water colour paper, 70.0 x 50.0 cm 2020
All smiles for you Mixed Media on water color paper, 70.0 x 50.0 cm 2020
Become the favorite wife Mixed media on water colour paper, 70.0 x 50.0 cm 2020
Beyond the empty corner Mixed media on water colour paper, 70.0 x 50.0 cm 2019
Brothel boredom Mixed media on water colour paper, 70.0 x 50.0 cm 2020
Caged Mixed media on water colour paper, 70.0 x 50.0 cm 2019
Caged Mixed media on water colour paper, 70.0 x 50.0 cm 2019
Chaos is beautiful Mixed media on water colour paper, 70.0 x 50.0 cm 2019
Deciphering omens Mixed media on water colour paper, 70.0 x 50.0 cm 2020
Fake smile for the mirror Mixed media on water colour paper, 70.0 x 50.0 cm 2020
Fuck off Mixed Media on Canvas, 70.0 x 50.0 cm 2020
Home Mixed media on water colour paper, 70.0 x 50.0 cm 2020
In search of silence Mixed media on water colour paper, 70.0 x 50.0 cm 2020
Lost in thought Mixed media on water colour paper, 70.0 x 50.0 cm 2019
Memories from somewhere Mixed media on water colour paper, 70.0 x 50.0 cm 2019
Quarantine Mixed media on water colour paper, 70.0 x 50.0 cm 2020
The absence of trees Mixed media on water colour paper, 70.0 x 50.0 cm 2020
The beauty in false predictions Mixed media on watercolour paper, 70.0 x 50.0 cm 2019
The importance of ice cream Mixed media on water colour paper, 70.0 x 50.0 cm 2019
The new eyeliner Mixed media on water colour paper, 95.0 x 70.0 cm 2020
The Summer he left without the bird Mixed media on water colour paper, 70.0 x 95.0 cm 2019
Traditional piggy bank Mixed media on water colour paper, 70.0 x 50.0 cm 2020
Waiting with the cat Mixed media on water colour paper, 95.0 x 70.0 cm 2020
THE ARTIST
Neda grew up in England up to the age of ten. My parents were studying there. At the age of six my art teacher told my parents that l was a painter and since that age l knew that l wanted to be an artist. We came back after the revolution and l endured many hardships as a young girl mostly because it was hard for me to adapt to islamic rules and the way women are treated. My parents would not allow me to study painting as they thought art was for loose women. I was forced to study physics for two years. Then l quit and took the exam for art university against everyones advise and got accepted. As a female artist, living in Iran,
NEDA TAVALLAEE.
it has always been a challenge to express myself without surrendering to self-censorship and still depicting the beauty and richness of our culture. For us there are many things to be inspired from: The hidden hopes we have for our future as people, the pride we have as Persians, our rich heritage, mystical, music, literature, the beauty of our youth. l have always used painting as my voice. So, l metamorphose those experiences into my work. Reflecting on the double lives iranians lead, focusing mainly on the how and where we mingle and merry make. I have been mesmerized on this aspect of our lives and have always wondered if other nations were able to see us for what we are and how we live, not through the eye of the media, what would they see and would we still be judged the same ? I love to depict ordinary day to day events that not only tell complete stories but also arouse us intellectually compelling us to us think, judge, feel and remember our humanity.
B.1973,Tehran,Iran B.F.A from the Art University of Tehran 2000 Member of Alborz Painters Artists Association Solo Exhibitions • Khaak Gallery(Tehran)2002 • Haft samar Gallery(Tehran)2011 • Siin Gallery(Tehran)2011 • Beautiful life building(Cape Town)2013 • New Heritage Gallery(Cape Town)2013 • Siin Gallery(Tehran)2014
NEDA TAVALLAEE.
• Jana Comparative Contemporary Art Gallery • (Tehran)2015 • Atbin Gallery(Tehran)2017 Residencies • Greatmore Studios(Cape Town)2012 • Red Gate Gallery(Beijing)2012 • Young Blood Arts and Culture Development(Cape Town)2013 • USF Verftet Bergen(Bergen)2014 • I:O Art Residence at Helikon Art center(Izmit) 2016 • Kooshk residency and Chhaap Foundation cultural • exchange program(Vadodara)2017 • AE the Project Room Studio Residency funded by • Mercedes Benz(Johannesburg)2018 • Helikon Art Center(Izmit)2018 • Curator for Helikon Art Center residency program 2018 • Curator for Helikon Art Center residency program 2018
Group Exhibitions • Golestan Gallery(Tehran)1996 • Golestan Gallery(Tehran)1997 • Jamshidieh Gallery(Tehran)1997 • Shafagh Gallery(Tehran)2001 • Greatmore Studios(Cape Town)2012 • Beautifull life building(Cape Town)2012 • Shangri-la open studio(Beijing)2012 • Haftnegah Art fair(Tehran)2012 • Hamnavayi Art fair(Tehran)2012 • Villa Kuriosum and Parking Gallery(Berlin) 2012 • Siin Gallery(Tehran)2013 • Haftnegah Art fair(Tehran)2014 • Kargah-e-Honar(Tehran)2015 • Atbin Gallery(Tehran)2015 • I:O Art Residence at Helikon Art Center(Izmit) 2016 • Art for Peace Festival(Tehran)2016 • Atbin Gallery(Tehran)2016 • Alborz Painters Artists Association(Alborz)2017 • Open studio Chhaap Foundation(Vadodara)2017 • Edge Projects(London)2017 • Latitude28 gallery(New Delhi)2017 • Open studio Mohsen Gallery(Tehran)2017 • Gallery Chahar(Tehran)2017 • Vartan Gallery(Tehran)2018 • Afrand Gallery(Tehran)2018 • Negar Art Gallery(Tehran)2018 • Latitude28 Gallery(New Delhi)2018 • Prizma Sanat Merkezi Gallery(Izmit)2018 • 7ArtGallery(Istanbul)2019
Acknowledgment The artist wishes to acknowledge the assistance of the following individuals in the realization of this project: Director & Curator : Patrice Vallette Editing Coordination : Choa Pui Teng Guest writer : Neda Tavallaee Designer & Coordinator : Arif Hassan
Publisher Vallette Gallery 8, Lorong Kemaris 5, Bukit Bandaraya, 59100 Kuala Lumpur, Malaysia +60 19 301 2569 info@vallettegallery.com www.vallettegallery.com This catalog is published in conjuction with the “The Peculiar Box (Andaruni)” Virtual Exhibition at the Vallette Gallery official website, from February 18th 2021 until March 20th 2021 Copyright © Vallette Gallery 2021 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without the permission in writing from the publisher.