Blood Stained Pass
fatemeh nazari
Central Saint Martins UAL
Blood Stained Pass is an installation combining video, drawing, mirror fragments, projection, and sound. The work explores perception, time, and the relationship between seeing and selfhood. Inspired in part by the tradition of Iranian mirror work, the installation uses fragmented reflective surfaces to create shifting fields of light, image, and perception. Across the installation, projected eyes begin in a state of closure and gradually open one by one, suggesting a slow movement from unawareness toward perception, attention, and presence. Reflections multiply and redirect these images throughout the space, creating a dialogue between observer and observed. The work emerges from a personal inquiry into the search for an authentic self beyond habitual identities and fixed definitions. Through the interplay of reflection, movement, and fragmentation, the installation invites viewers into a contemplative encounter with uncertainty and transformation. Rather than offering a fixed narrative, it creates a space for reflection on how perception shapes our experience of reality and how acts of seeing may reveal new ways of understanding ourselves and the world around us.