light, water, iron, paint, transducer, ceramic
Anahita is an ancient pre-Zoroastrian goddess of water who has been diluted and adapted by patriarchies through empires, religions and cultures. Water clocks were the first way of telling time, marking solstices, and in ancient Iran served as a method to ensure water distribution to shareholders. I ask, what if water determined time instead of the clock? Viewers are invited to interact with the water clocks. The room is painted 18% gray as a nod to the attempt to smooth over history, referencing the photographic 18% gray. The walls are amplified with the sound of the water pipe from the building, translating into a rumbling water like sound. Water reflects from the larger water bowl onto the ceiling. Cast fingers and severed hands painted 18% gray are scattered throughout the installation and are also moveable by the viewer.
In “Anahita,” the water-clocks are speculative, rather than being timed to solstices as had been historically, they represent units of relational experience. Classified as a syncretistic goddess, Anahita is entwined through the piece by depositioning linear history as patriarchal storytelling through relational speculations on historicities within Islam, the relationship and control of water and time, labor and war.