As an eyewitness to my existence and to the life of other people, I have always experienced waning; waning of reality, waning of concepts and symbols, and annihilation in clash with a mighty atmosphere of controller systems that from the very beginning deprive me of my pleasures and overshadow the entirety of my life. They are hidden but powerful apparitions interfering in most private aspects of my life, and by intentionality and resorting to “control microphysics” manage to connect me to their favored social life presuppositions. Family, in tandem with social and political powers in traditional communities, is the most important media for enforcement of ideological concepts and rearing of the controller apparitions. A center in this institution incessantly reproduces this control and power system, passing individuals through a network of power. It is so powerful that no revolution or coup is ever able to change it. The creation of taboo, repudiation and silence are the direct outcomes of this power transition that has laid irreparable losses on the heart and mind of my generation, a sort of generation whose first experience of co-existence in contact with these centers is frustration.
“Integration” is an important and fundamental feature of an organic whole. It is a historic quality that guarantees the survival of a symbolic order. The form in Bibi’s portrait, as the first work of the Control Collection that motivated me to create these works, is the only form in which body parts have come close to their complete functional shape, although this integration was hard to achieve by sticking four pieces of paper.
It is my feeling that Bibi, as the pillar of the family, defends her integrated identity wholeheartedly for a family reunion and for enforcement of control and hegemony on family members. But in the other works, and along with my critical approach toward family’s control system and its hidden powerful centers, the dismembered and scattered body parts helped me advance my idea.