POSITIONAL #02

POSITIONAL #02

Positional Perspective engages landscape as a force that shapes memory and narrative, challenging conventional ways of seeing through reimagining and spatial reconfiguration. Drawing on Malcolm Andrews’s notion of “culturally prefabricated templates,” the work examines biases embedded in Western landscape traditions and invites viewers to question how these visual systems construct perception. The project asks: What happens if we consider our bodies as landscapes? This shift foregrounds care, vulnerability, and relational presence as central to how we inhabit the world.

Positional Perspective engages landscape as a force that shapes memory and narrative, challenging conventional ways of seeing through reimagining and spatial reconfiguration. Drawing on Malcolm Andrews’s notion of “culturally prefabricated templates,” the work examines biases embedded in Western landscape traditions and invites viewers to question how these visual systems construct perception. The project asks: What happens if we consider our bodies as landscapes? This shift foregrounds care, vulnerability, and relational presence as central to how we inhabit the world.

WHAT I DO IS ME: For that I Came!

Diagrams comparing one-point perspective (bottom-left) and Persian non-linear perspective (bottom-right)A Persian miniature (top) Mohammad Hassan Khan Afshar, Nasser al-Din Shah, Mozaffar al-Din Mirza (Crown Prince), and the Sepahsalar in Mashq Square.,

Source: www.malekmuseum.org