Organized by Jessamyn Fiore


February 2–April 9, 2017


For immediate release:


Rawson Projects is very excited to announce the second iteration of A Process Series, a sequence of mini solo exhibitions that invites each artist to transform the gallery space in order to present and explore the inspiration behind their most recent work. 


A Process Series II invites four female artists to reflect on how politics influences their artistic practice. Each comes from a different background and works in a different medium, but all use their artistic voice to explore our contemporary political reality from their own unique perspective. 


In the urgency of this current political climate Rawson Projects asks simply “what is inspiring you now?” and then gives these four artists a carte blanche gallery space in which to reply. Encouraging experimentation in medium specificity and audience engagement, this two month program opens up a conversation around creative influence, politics and identity: What is the artist’s role at this moment in addressing contemporary events? Is a politically engaged artistic process equal to art activism or is it an inherent feature in any significant contemporary art practice? How does art stay relevant and necessary in an extreme political reality? 




Bahareh Khoshooee: The Gap

Reception for the artist: Friday, March 24 from 6–8 PM

March 24–April 9, 2017


From March 24 to April 9, Bahareh Khoshooee will present The Gap, the artist's first solo show in New York.


Artist statement: 


"The Gap investigates the fluidity of identity (or as Marx would put it: Gattungswesen) in relation to society. Immigration was an epiphany for me; my comprehension of the essence of identity has drastically transformed and evolved to a new form. The amalgam of a self-assured liberal woman and a perplexed new-come immigrant led my artistic practice to a new level; one’s socio-economic class could drastically change from one environment to another, one country to another, and thus would the notion of identity. 


Confabulation (fabricating memories unintentionally) has become a means of resistance, to fill the gaps of identity, to hold the fragments of self together. I question the difference between confabulators and gas-lighters, false memory and alternative facts. More than a year ago during a visit in Iran, I purchased a vintage point-and-shoot Yashica film camera and a handful of expired Fuji/AGFA/Konica films. The intention was to record memories through a defective machine/system to imitate the way my brain records them. The images as a result were visually unclear and abstracted, with moments of clarity in representation (vivid memory) here and there to grasp on. I developed the film upon my return to America, however, never touched them over the past year. I purposefully attempted to detach myself from the physical and visual representation of a memory produced by machine. 


I use my body as a tool and my performance as a process in creating visual imaginary liminal spaces and self-estranged characters. Body as the physical representation of human's conscious being, mostly fails to truly represent 'who we are' and yet it is the only physical output of us, it is attached to 'us.' Using my body, I invoke the viewer to exist in a conflicted state; at once immersed in my perspective and at the same time aware of the farce; the experience of being the other and being the first person, back and forth."


Bahareh Khoshooee was born in Tehran, Iran, in the year of the goat, 1991. She received her BA in Industrial Design from University of Tehran and is currently an MFA candidate at University of South Florida. Her work is to be soon featured in the Museum of Fine Arts Saint Petersburg, USF Contemporary Art Museum, and ACRE Projects, and will serve as an artist-in-residence in Ox-Bow residency. Her recent two-person exhibitions include MirrorDrain with Ben Galaday (Centre Gallery), Milk Spreads Its Coat (PortSpace), and RunRunRun (William and Nancy Oliver Gallery). Khoshooee's work has been featured in The Huffington Post, The Guardian, HyperAllergic, Artnet News, Vice, The Metro, and The Creators Project.



For more information please contact the gallery at info@rawsonprojects.com or call 212 256 0379