Maryam Ashkanian, born in 1988 is an Iranian sculptor and painter. She received the Bachelor of Art in painting at the Art Faculty of Gilan University in Iran in 2012.
My childhood was embedded in textiles and sewing. Until I started at the fine arts university, I did not realise it was possible to use textiles as a medium, so I used oil painting at first. Later, I realised that oil paint was not my vision of the world. It took me awhile to understand and realise the numerous possibilities and the flexibility that textiles and sewing could bring to my practice. There were some things I couldn’t achieve in the oil painting that I can with textiles. In my work, I attempt to create a concrete conceptual body formed with many layers to achieve what my inspiration guides me to do.
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posted by Margaret
Postmortem photography or memento mori, the photographing of a deceased person, was a common practice in the 19th and early 20th centuries. The photographs were considered a keepsake to remember the dead. Child mortality was high during the Victorian era. For many children even a common sickness could be fatal. When a child or other family member died, families would often have a photograph taken before burial. Many times it was the first and last photograph they would ever possess of their loved one. Many postmortem photographs were close-ups of the face or shots of the full body. The deceased were usually depicted to appear as if they were in a deep sleep, or else arranged to appear more life-like. Children were often shown on a couch or in a crib, often posed with a favorite toy. It was not uncommon to photograph very young children with a family member, most frequently the mother. Adults were more commonly posed in chairs or even propped up on something.