Mother Earth is the one who gave birth to man, nourishes him, nurtures him, and takes care of him with her body.

The myth of man’s origins from the dust is ingrained in the minds of many nations and cultures across the globe.

Hesiod (Greek poet) says that Zeus and his fellow gods created mankind during five periods: The Golden and Silver ages, the Bronze, the Heroic, and Iron Ages, during which we live today.

Iron age people are not sympathetic to the needs of others nor do they share the blessings of the earth. Instead, they divide the land into countless private units and everyone keeps whatever they can.

In spite of the earth’s blessings, we believe it cannot provide us with adequate wealth, so we seek to acquire additional wealth by conquering foreign lands.

We are leading the earth to destruction which drives our patient mother increasingly weary and withered.

These descriptions may cause Zeus to crumble our civilization, as we have shown that we do not deserve to live in the land of our mother.

This project aims to illustrate the effects of global warming and the dehydration and drought crisis. In one of the Iran’s cities, this series was created; a place where agriculture once thrived but is now barren and dry.

As the security situation in Iran prevents access to the dried-up lakes and rivers, I staged photography in the villages and cities that have been badly affected by drought and global warming.

Since I couldn’t reach native people and convince them to come on camera, and it even caused serious problems for the team, I had to use the models. The clothes are being sewn and the models are being made up on set; I can email you a behind-the-scenes video. As a photographer, I find making photos really interesting because I am able to express the problems through poetry in my photos, which makes them doubly powerful.

From "Mourning for the father" series

War is defined as a long-term structured conflict involving the use of arms and weapons between nations, governments and different groups, which is associated with severe hostility, social disruption, and excessive financial loss and casualties.

Today, we constantly witness such conflicts across the world, with the media spotlighting the loss of thousands of soldiers and death of civilians during wars. However, we are rarely informed on the survivors of wars and their destiny.

What becomes of them? How does war influence the lives of those who have lost their loved ones? How do women mourn the deaths of their husbands, fathers, and brothers and cope with such grave tragedies?


These contemplations have urged me to start a project in order to shed light on these events and reflect the grand suffering of war survivors only partly. My photographs have been inspired by the works of Renaissance painters, and this can be seen in the classical lighting techniques and pictorial editing of the works. In addition, the black veils on the models signify the spiritual aspect of the photographs, symbolizing the catharsis born out of a plethora of grief and agony.



The face of an Iranian girl in search of truth and freedom


The loop of being

Iranian culture has always been influenced by its great poets. People believe that the effect range spans from routine, every-day problems, to the deepest movements which determine the future. I was inspired by the philosophy and poems of the great Iranian poet, Khayyam to take these pictures. He believes that this world is nothing but a depressing show between two nonexistences. A show that replays in a rather stubborn fashion. He predicted that Death is somewhere near us and we might face it any minute. So it’s wiser to appreciate each moment of this short life.

The black silk used in the project is a symbol of getting stuck in the past, thinking about the future that has not arrived yet, and meanwhile a symbol of mourning for the present moment. Image rotation refers to the philosophy of consistent spin between life and death, consecutive comings and goings without an appreciation of the present moment.


In this image, I aimed to shed light on the inner conflict of the girl, as can be shown with her pale complexion, and effects of outer elements, such as the wind that shuffles her hair frantically. The wind symbolizes the unexpected events that although invisible, have an undeniable influence.As the wind moves her hair chaotically, her tension and agitation escalate.  


Lack of existence is an obligation for the women of my country. As such, the photo shows the antipathy of a woman who is trying to release herself from this form of coverage in order to reach freedom. To exhibit this concept, I have used a black cloth and light, with the former representing oppression and the latter symbolizing emancipation.


Nastaran symbolizes a woman who has drawn her darkness out of the deepest corners of her being. The shawl she is wearing stands for her identity, which is the driving force ushering her forward through life; the identity she has never abandoned. A glimmer of hope shines in the eyes of Nastaran; the hope that lingers in spite of all the suffering she has faced. The composure and penumbra of her face evoke the image of a desert. Desert is a symbol of unwavering resistance in the face of thirst… the unquenchable thirst this woman has for redemption and enlightenment.

The hand

Farhang Ketabi

Shirin Abedinirad



The tender sense of sadness