Mariam Azad—a sculptor of Iranian heritage and architectural discipline—wields her work as a scalpel, carving into the sinews of identity, gender politics, and the social pressures that press against the human form. Her sculptures are visceral dialogues that explore trauma, healing, and the relentless journey of being a woman in a world eager to define her.

The Sculptor’s Philosophy: Beauty in the Broken

At the core of Mariam’s artistry lies an unflinching commitment to the “cause des femmes”—the plight and resilience of women under social scrutiny. Through a fusion of figurative realism and material abstraction, she unearths the tension between destruction and repair, baring the scars of social control. Her porcelain works, adorned with fractures yet exuding an eternal sense of rebirth, evoke a serene dignity.

These figures, suspended between antiquity and modernity, recall the stoicism of ancient Egyptian art, the emotive perfection of Gian Lorenzo Bernini, and the psychological turbulence of Franz Xaver Messerschmidt. Yet, they are unmistakably hers—raw, quiet, and imbued with a gravitas that transcends time.

Mariam’s black stoneware sculptures, with their majestic forms and textured surfaces, serve as metaphors for internal dialogues. The interplay between their rugged exteriors and fluid silhouettes mirrors the conflicts and reconciliations within the self. These pieces demand contemplation, inviting viewers into a shadowed space where doubt and certainty collide, where the echoes of inner conversations become tangible.

Light and shadow play pivotal roles in these works, adding depth and nuance to the dialogue. The rugged stone surface reflects the rawness of human emotion, while its graceful curves whisper of resilience and self-discovery. Mariam creates not just art but portals—inviting spectators to examine their own fears, aspirations, and truths.

From Inspiration to Execution: A Fusion of Eras

Mariam’s work draws heavily from her inspirations—antique formalities, classical ideals, and the raw expressiveness of Baroque and modernist sculpture. Yet, her art remains rooted in the present, speaking to contemporary struggles. Her figures carry an enigmatic poise, their stillness a protest against the cacophony of a world “too loud, too invasive.”

A Journey of Fractures and Healing

The scars on Mariam’s porcelain sculptures are not merely aesthetic choices but philosophical declarations. They embrace the Japanese principle of kintsugi, the Japanese art of mending broken pottery with gold, she highlights rather than conceals each crack, turning destruction into a badge of honor. These fractures are not mere aesthetic choices; they are declarations. They tell us that what has been broken has also been rebuilt—stronger, wiser, undeniably present.

Then there are her black stoneware sculptures—monumental, weighty, unapologetic. Their textured surfaces absorb and release light, creating an interplay of shadow and revelation. These figures are less about fragility, more about the endurance of self. If the porcelain pieces are poems of survival, the stoneware works are manifestos.

In both mediums, Azad rejects perfection. Instead, she sculpts truth: the discomfort of being shaped by expectation, the quiet violence of control, the radical act of self-reclamation.

Beyond Art: An Invitation to Reflect

Mariam’s sculptures transcend mere observation; they demand engagement. They compel us to look inward, to converse with our inner selves, and to confront the parts of us shaped by societal expectations. Her work becomes a mirror, reflecting both individual and collective struggles, while offering a path to self-acceptance and growth.

Her work invites an almost physical response. Viewers find themselves reaching out, tracing the gold-lined cracks in her porcelain figures, feeling the rough-hewn textures of her stoneware. In doing so, they are not merely observing—they are participating in the act of reassembly.

Azad does not offer easy conclusions. What she offers is something far more enduring: a mirror in which we see ourselves, fractured yet whole, forever unfinished, forever becoming.

 

In contemplating Mariam’s art, one senses a profound truth: that to be human is to be perpetually unfinished, an amalgam of scars, revelations, and quiet triumphs. Through her textured surfaces and timeless forms, she invites us to embrace imperfection—not as a flaw, but as the essence of our shared humanity.