Studying and working simultaneously in the two fields of art and nursing has placed my body in a ground where there is no boundary between the fields, all of them are a soil for human effort, to relieve pain and injuries, and a living presence through the creativity.
I am graduate of Master of Interrelational Art Practices from Hanze University of Groningen; in this field we are looking for the possible relationships of art with other social areas that are often neglected. My thesis was entitled “Democratic Art: The Neighborhood and Refugee“, What shows my approach in the definition of art as a facilitator in public spaces and collective assets. (You can see the chapters of my research in the picture)
Based on this, design is a daily thing for me, designing the relationship between possibilities and agents with fears and dreams, designing the relationship between historical shapes and mythological mass. This is what design means to me; Something all humans can do to be an active presence in embodying a more desirable life. To find these possibilities and spaces through historical shapes and creative forces. Finding possibilities and adding them to the living space.
As a nurse, when I am at the bedside, the painful body is a window into a mental images and world of that body and when I stand in front of a canvas, my images and feelings are a way to better understand the painful human body.
My name is Peyman Garami, based on what was said, I have a great motivation to be present and active and cooperate with all people, organizations and social workers to discover and share these hidden spaces in today’s life: through art
PLEIN
A WORK IN PRAISE OF SOIL, THE FIVE SENSES AND DELFTS BLAUW
PEYMAN GERAMI. AZADE BALOOCHI
We involuntarily carry history with all our five senses, and history with all its twists and turns, stories and legends, smells, shapes and tastes is present in us every moment.
Painting, art, cinnamon, spices, or this exhibition are all parts of cultural exchanges in a Plein (Square) of relations, that have either affected societies and their destiny or carry signs/trace/trauma of this field.
Layers of historical memory that by touching and pushing away, it is the figure of an event or memory every moment that are recalled
Or is summoned a lost feeling through a smell,
Or a silent memory through the sense of touch
Or a obscure whisper from our past
and these take us on their caravan. A caravan of catchy narratives such as the relation between Delft blue and Iranian Persian blue.
+ POEM PRACTICES
Mushroom Soup
In this series of exercises, poetry is combined with daily activity, tasks and roles. And the poet tries to sink into the role of one of the subjects are created in the poem. In the poem “Mushroom Soup” or “Poisonous Mushroom Soup”, I prepared and served mushroom soup for the participants as a chef. They were present throughout the cooking process and helped me. And while the mushroom soup was serving and eating, my poem was read. Although this poem of mine in English had lost more than half of its linguistic subtleties in comparison with its Persian version, the practice of +POEM PRACTISES tries to go beyond mere linguistic expression, and want to create an atmosphere and in fact, marginalize or criticize the challenging centrality of the text in favor of a practical and relational process.
