Parsa Hosseinpour WorkS directly on blanket-like textiles, often characterised by rough and tactile surfaces. She transforms an intimate, everyday material into a site of emotional expression. Fabric becomes more than a support for the image: its texture, weight, and softness evoke the body, domestic space, vulnerability, and the persistence of memory.

A solitary female figure frequently appears in her compositions, embodying states of introspection and isolation while opening onto broader questions of identity, belonging, and human connection. Through expressive brushstrokes and delicate imagery, Hosseinpour establishes a tension between the physical presence of the material and the psychological intensity of the depicted figure. Her paintings move between figuration and abstraction, challenging the distinction between image and object.

Her experimentation with textiles and natural environments further extends painting beyond the traditional frame, bringing the work into dialogue with the surrounding landscape. In this process, materiality becomes an active element of the artistic language, shaping not only the appearance of the image but also its emotional resonance.

Informed by personal experiences and encounters with art across different cultural contexts, Hosseinpour’s practice remains open to transformation. Rather than adhering to fixed cultural or gender-based categories, she pursues a fluid and personal visual language in which intimate experience becomes a point of departure for universal reflection. Her work invites viewers to consider the ways in which memory, vulnerability, and identity are embodied in both images and materials.

INTERVIEW WITH PARSA HOSSEINPOUR

Your recurring theme of a solitary woman seems deeply personal yet universal. How do you balance introspection with the broader human experience in your work?
My work often features a solitary woman, drawing from personal experiences and universal emotions like loneliness, strength, and connection. I aim to express my feelings while leaving space for viewers to find their own meaning. A solitary figure might feel strong to one person and vulnerable to another, turning personal stories into shared experiences through art.

The textured, hairy blankets used in your latest series add a tactile dimension to your paintings. What drew you to this unconventional medium, and how has it influenced your creative process?
I’m fascinated by how different materials respond to paint, which led me to experiment with hairy blankets. Their texture creates unexpected depth and movement, adding a tactile and emotional layer to the work. The softness contrasts with the themes I explore, making the pieces more alive. For me, these fabrics are not just surfaces—they’re part of the story.

Your work is described as evoking the intensity of Edvard Munch and the expressiveness of the Impressionists. Do you feel a connection to these influences, and how do they manifest in your art?
I admire the emotional intensity of Edvard Munch and the expressiveness of the Impressionists. While I don’t try to copy them, I connect with their ability to express raw emotions and create powerful atmospheres. In my work, I explore tension, duality, and the interplay of beauty and unease, using color and texture to create movement. Their influence encourages me to trust my instincts and let emotions guide my process.

Nature plays a significant role in your recent works, as seen in the pieces photographed in outdoor environments. What does nature represent in your practice?
Nature is a big part of my recent work, not just as inspiration, but as a part of the artwork itself. When I photograph my paintings outdoors, it’s not just a picture—it’s letting nature finish the story. To me, nature stands for freedom, vulnerability, and connection. It adds unpredictability, like how light changes the textures or how the setting shifts the mood. Using nature helps me create a piece where the painting and surroundings work together, exploring themes of belonging and duality in a way that feels alive and connected.

You’ve mentioned that your figures often reflect themes of confinement and yearning. How has your personal journey, including your time in Berlin, shaped these narratives?
The themes of confinement and yearning in my work come from personal experiences, but they’ve evolved over time, especially during my stay in Berlin. Living in a new city, away from home, has brought feelings of freedom but also moments of isolation and longing for connection. These contrasts have deepened my understanding of these emotions and how they relate to my figures. Berlin’s energy and diversity have also influenced my work. It’s a place where I’ve felt both challenged and inspired, and this has pushed me to explore these themes in new ways. The city’s history, its sense of resilience, and even its physical spaces have shaped how I approach the balance between restriction and hope in my art. Ultimately, my journey has helped me see these themes not just as struggles but also as opportunities for growth and self-discovery, which I try to express through my paintings.

The words of Hafez have clearly had a profound impact on your life and work. Can you share more about how his poetry has guided your artistic evolution?
The words of Hafez have had a strong influence on my life and art. One of his poems says that we are the veil standing in our own way, and we need to remove ourselves to move forward. This idea really spoke to me, especially because I believe our fears and self-doubts often act as that veil. In my art, this idea is about confronting those fears and being open. It has pushed me to remove the barriers I create for myself and embrace my true emotions in my work. Hafez’s poetry has encouraged me to dig deeper into my feelings, to let go of my insecurities, and to create art that is more honest and vulnerable.

You resist being categorized as a “Middle Eastern artist” or a “woman artist.” How do you navigate the tension between cultural identity and a universal approach to art-making?
I resist being categorized as a Middle Eastern or a woman artist because I believe that art should transcend these labels. You never hear people categorize male artists based on their gender or refer to an artist as ‘Eastern’ or ‘Western,’ so I don’t want to be limited by those boundaries. I just want to be seen as an artist—without gender, without any cultural or geographical barriers. For me, art is a universal language, and I believe it should be free of any labels that separate or restrict us. I want my work to connect with people on a human level, beyond any categorization, and I aim to create art that speaks to the shared experiences of being human.
On Experiences and Residency:

This residency in Berlin marks the first time you’ve lived independently. How has this newfound independence influenced your artistic practice and personal growth?
The residency in Berlin has been a turning point for me, as it’s the first time I’ve lived independently. This newfound independence has really pushed me to explore both the space around me and my inner world. I’ve had to confront my fears, which has been challenging but also incredibly freeing. At the same time, being in a new city has allowed me to explore new places outwardly—discovering Berlin’s culture, energy, and history. But it’s also been a journey inward, as I’ve learned to trust myself more and embrace my personal growth. This balance of external exploration and internal reflection has deeply influenced my artistic practice, encouraging me to create work that is more authentic and raw.

The isolation during the pandemic deeply influenced your work. In what ways did that period of confinement alter your artistic vision or approach?
Yes, indeed the isolation played a pivotal role in my work. While I spent a lot of time in my studio, it led me to paint figures that were alone and isolated, even though I didn’t intentionally set out to do so. It was just the natural outcome of that period. In my recent works, however, there are many more people in each painting. I now explore how isolation can exist in a group, and these figures, though numerous, each seem to be experiencing their own form of solitude. This shift reflects my evolving perspective, where isolation is no longer just about the individual but also about the collective experience.

What role has the residency at LCG_ARTLAB played in your current exploration of themes, materials, and artistic freedom?
The residency at LCG Art Lab has been crucial in my exploration of new materials and techniques. It provided me with the freedom to experiment without the fear of judgment, which was incredibly liberating. I felt encouraged to take risks with different techniques and materials, something I hadn’t fully embraced before. This space has truly been an open door to my future, giving me the confidence to explore new creative possibilities and expand my artistic practice in ways I hadn’t imagined.

Your trip to Europe and encounters with groundbreaking artists were pivotal moments for you. How do you think global exposure changes an artist’s perspective?
My trip to Europe and encounters with groundbreaking artists have truly been a pivotal moment in my journey. Visiting museums and seeing the artworks I had always admired in books and pictures in real life was an incredible experience. It made me feel more connected to the global art world, seeing firsthand the works that have shaped art history. Meeting international artists and visiting their studios also had a huge impact. It was inspiring to see how they approach their work, how they challenge themselves, and how they navigate the same struggles and processes that I do. It reminded me that I am not alone in my artistic journey. We are all part of a global community, experiencing similar challenges, and supporting each other along the way. This exposure gave me a sense of belonging, reinforcing that I am on the right path and that my experiences and challenges are shared by artists worldwide. Overall, this experience opened my eyes to the universality of the creative process and the importance of connection within the art community

In merging traditional painting with experimental materials and nature, where do you see your practice evolving in the coming years?
In the coming years, I see myself continuing to experiment with different materials and techniques. I’m certain that my work will evolve a lot, and I embrace that change. Just as nature changes and life is always shifting, I am excited to transform and grow. I trust my instincts in this process, and I’m open to where it will take me. I know that when I look back, I’ll see how much I’ve changed, and that’s something I welcome in my art

If there’s one message or feeling you hope viewers take away from your work, what would it be?
honesty