A Multi-Media Exploration of the Female Experience. This project delves into the powerful concept of the female body as a landscape of struggle and resilience. Through a compelling blend of photography, net art, and documentary footage, it aims to challenge the limited visual landscape surrounding this critical topic. By engaging with movies and document imagery, the project expands the online discourse, offering a richer and more nuanced perspective on this complex issue. Leveraging the power of imagery, the project aims to spark awareness and ignite conversation on social media, web pages, google searches and even installations. Recognizing the profound impact of visuals, the project transcends the limitations of words, fostering a deeper understanding and connection with the viewer. This multi layered project starts with curated images that act as a launchpad, for discovery. These visuals are then reproduced on high quality art paper turning them into artifacts. By modifying th

Sonalika Vakili's work brings us back to an intimate and necessary dimension for these times. Her work explores our deepest feelings experienced in the period of lockdown. The artist analyzes the concept of finding oneself not only with oneself, but in relation to everyday objects. To be resized is our concept of home: the objects around us are not limited to being strangers, but we immerse ourselves in them, and they in us. Sonalika Vakili's art helps us to explore this new dimension. Art Writer: Francesca Merz . Artist’s Statement:  In the wake of the global COVID-19 pandemic, the entire world finds itself in a state of shared confinement within our own homes. As weeks turn into months, the introspective nature of this crisis becomes increasingly apparent. Each individual, in their own unique way, grapples with this solitude and seeks solace within the confines of their personal lives. For me, this journey of self-discovery takes the form of immersing myself in the objects that

Look at the colored spots available in the image for 30 seconds and then look at a white surface and start to blink, .what you would see is a Positive This text was derived from Sony company’s advertisement for one of their camera, in year 2012 that inspired me for “ The Year 30” collection. A collection of sixteen family photos, including those related to times before my birth till those related to nowadays, actually from my mom’s thirties to my own, which seems to represent memories of these decades, but in fact what makes the quiddity and essence of these images is an approach wholly inconsistent and contradictory, fi rst some inverse Polaroid images and then the positive illusion created by staring at colored spots in the images, which will start to reject or accept itself right after seconds and turn portraits in to unfamiliar objects of clad fi gures, portraits which all have become glassy style. I believe that portraits are not always what demonstrated, because of the sp

.These photo-montages are selected from the series named " Interaction with Sherman" as part of my university thesis in 2008. Inspired by the iconic presence of Cindy Sherman in her photographs, I illustrated my exploration through the way Sherman's social role-models affect the audience.

This series is showing artist’s hybridized world among the mythological history of goddesses, so you can see her body at equivocal landscape even sacred places through her traveling abroad ,far from any archetypal sign and veil or any ancient religious icon in her appearance to show that where she come from; Artist have used photo montage technique by stitching goddesses portraits in to her figures from the women of real life in William Adolphe Bouguereau and John William God ward paintings around 19 century to create her desired world, because of believing that the goddesses’ archetype are symbols of independence ,beauty and power and the body in a landscape that has been associated with ideas of freedom, personal, duality, sexual or political ,the matters that artist is searching for...                                                                    

In 2014, amidst the harrowing wave of acid attacks against women and girls in Iran, as the creator of this self-portrait, I embarked on a deeply personal journey, one that transcends the confines of time and place. My work is a testament to the unyielding spirit that refused to be bound by societal norms. I embarked on a quest to confront the multifaceted challenges of identity faced by women in my homeland. In 2022, as we revisit this image after eight transformative years, a new narrative emerges, one intertwined with the universal ideals of freedom.

Who am I? … Before I start to repeat these self-conversed on and on, I came to conclusion of the question, how did I come to be and appear!?  Auto biography collection is an arrangement of few digital layers of a woman’s self-portrait and body images, multilaterally emphasizing on discovery of an identity, which has gone into eclipse for many years in terms of cultural and public scene.  A blunt demonstration of the body along with X-Ray images I took of myself through a year and removed all the womanly postures I wanted to display off my skin and flesh, and by combining them with my portraits I try to compose natural images of myself, that no time it is my normal nature . ​​​​​​​ 2014-2016

The collection ’ Autobiography/chapter 1 ’ is including the vision of my feelings and thoughts in a artistic way to show that what I’ve experienced during a very sensitive time in my life and actually for my country in 2009 ,which makes a constructed identity out of me as a woman and as a human . 2010_2013