Sepideh T. Dashti interview May 2025
Can you tell us about the history of your personal exposure to art? How did you first become interested? Did any artists or works inspire you to pursue becoming an artist? I owe so much to my parents. My father was a talented photographer and woodworker. While his main business was interior design, he pursued photography and woodworking as passionate hobbies, which influenced my current creative practice. My mother supported my creativity early on. She enrolled me in a painting class when I was 11, and I continued practicing painting and drawing alongside my engineering education. After graduating from university in Iran, teaching painting and drawing to K–12 students became my part-time job.
After immigrating to Canada, my spouse, Amir, encouraged me to pursue art professionally. I began my BFA at the University of Waterloo, where I had the privilege of learning from many inspiring mentors. Among them, Lois Andison and Bojana Videkanić had a profound impact on me. Their guidance motivated me to fully embrace art as a central part of my daily life.
As your practice developed over time, what were your motivations? What keeps you making art?
During my BFA, I discovered feminism and began to see the world, and myself, through a feminist lens. This perspective helped me become more aware of my rights as a woman and inspired me to explore my cultural and personal identity within broader social and political contexts. This journey of exploration has transformed my life. It has not only strengthened my personal growth but also shaped my path as an activist artist, someone who challenges power structures and resists various forms of oppression, with the hope of creating more just and inclusive spaces for everyone.
What does your current creative process look like? Do you work better by planning before executing ideas, making in the moment, etc.? What activities make up your studio practice? What kind of pace do you follow?
My practice is experimental and interdisciplinary. I'm very interested in working with different media and creating multidisciplinary projects. I usually begin with sketches and prototypes, but once I start working on a piece, the initial plan often shifts. These changes are shaped by my lived experiences, the available materials and facilities, and, as an artist-mother, my need to balance professional work with parenting responsibilities.
Because of this, I’m particularly drawn to making artworks that are mobile, interactive, and easy to install and de-install. I also prefer working on several projects simultaneously. This approach allows me to experiment with various materials and methods, and later decide which ones to further develop and submit to open calls or exhibitions.
In addition to my studio practice, I am also a PhD student. Some of my creative work evolves directly from my research inquiries, questions such as: How can art reflect the emotional landscape of homesickness? How does exile affect the lives of individual immigrants? And how can we foster a sense of belonging in a new environment?
I engage deeply with the work of other artists and with theoretical texts on qualitative and arts-based research. These readings inform and inspire my practice. As I’ve mentioned before, art-making has become part of my daily life. In moments when I feel overwhelmed by sadness or melancholy, creating, whether it's a small object or a private performance, helps me process those emotions and transform them into something meaningful.
What subjects or ideas run through your current work? What about your personal narrative connects you to your current materials and body of work?
One of the central ideas in my practice is the concept that “the personal is political.”, a feminist second-wave slogan. I grew up in a context where women were viewed as the “second sex”, a famous term proposed by Simone de Beauvoir, defined primarily by their roles as housekeepers and child-bearers, and always dependent on the male body. This perspective strips women of agency and deeply affects their daily lives. For example, something as ordinary as driving, a routine activity in many Western countries, was a personal struggle for me for a while. In my hometown, driving was considered a male-dominated task. Although women do drive in Iran, in smaller, conservative cities, societal norms and the attitudes of male family members often discourage or emotionally pressure women not to drive.
This limited freedom for women in Iran is being challenged today thanks to the courage of rebellious women and men, who resist traditional religious norms and fight for gender equality.
In my artistic practice, I explore the limitations imposed on the female body and examine themes of empowerment and resilience as a means of dismantling patriarchal structures. I’m especially interested in the tension between public and private spaces, and I use this duality to investigate and express these ideas.
I approach my work through an intersectional feminist lens, often using familiar materials such as household objects or female hair. I employ a direct yet layered artistic strategy that invites audiences to connect with the subject matter on a personal level, while also encouraging deeper reflection and critical questioning of the social and cultural structures that underlie these familiar forms.
What historical or contemporary artists are you in conversation with? Are there any art movements or theories that influence your way of thinking about your work? Who have you been looking at lately?
Many artists from around the world have influenced my practice. I’m constantly inspired by ideas and individuals I encounter through gallery visits, exhibitions, catalogues, books, and online platforms. I really enjoy engaging with other artists' work and learning about their processes and perspectives.
Recently, I’ve had the privilege of working with two contemporary artists, Kelsey Harrison and Michael Webster, whose practices have significantly influenced both my teaching and studio work. They are not only great artists but also dedicated educators, and I’ve learned a great deal from their mentorship and example. That said, I’ve also gained so much from the many wonderful people I’ve met through various art communities. These relationships have shaped my growth as an artist and enriched my practice in meaningful ways.
What have you been reading or listening to?
In terms of reading, I’m currently trying to finish a book I started several months ago, although my academic commitments have delayed me. The book is Women, Art, Freedom: Artists and Street Politics in Iran by Pamela Karimi. I’m drawn to this book because it introduces me to artists who are working inside Iran. Through their experiences and visions, I gain insight into how they navigate vulnerability, resist the regime, and claim agency through their art.
I haven’t been back to my home country in eight years, and my perspective as an artist in exile is quite different from that of those who are creating within Iran’s current political climate. Reading about their work allows me to connect across distance and reflect on shared struggles from a different standpoint.
How was Ramona Residency beneficial for the development of your practice? In what ways did it help you build community?
I feel truly honored and privileged to have been accepted into the Ramona Residency! I’m incredibly grateful to Sarah Sudhoff for considering my work and providing such a valuable opportunity to explore my ideas and artistic practice over the course of two weeks. Connecting with new people and learning from a diverse group of artists made this experience unique and enriching.
In particular, having heartfelt conversations with other mother artists, immigrant artists, and curators helped me feel less alone in the challenges of balancing professional life with mothering. These exchanges were not only powerful but also affirming, reminding me that there is a supportive community navigating similar paths.
I left the residency feeling so inspired and encouraged after meeting so many amazing, kind, and supportive individuals in Houston’s vibrant art scene. This experience has truly motivated me to continue pursuing my chosen path with renewed energy and confidence.
The Ramona Residency is a wonderfully special place for mother artists, and that’s all thanks to Sarah’s tireless, voluntary efforts and her generous dedication to creating space for others. I sincerely hope this residency receives strong financial support so it can continue uplifting and offering hope to mother artists from all backgrounds.