In his “Soot, Fog, Soil” series, Majid Biglari first deals with objects and spaces that originate from the most personal issues and individual concerns. By hiding some of the clues and provoking the audience’s sense of curiosity, he lets them put themselves in those personal, internal places. Moreover, Majid recreates spaces that, while being public, offers personal interpretation accompanied with sorrow. It is as if with the space being public, the perception of it should be clearer, but by removing the details of each structure and diminishing the experience of presence in these places, e.g., furnaces, factories, camps, and watchtowers, it is up to the audience to fill the blanks. Considering the nature and history of these types of spaces, the mind of the audience is drawn to a dark and harsh place. With its simple colors and forms, Majid’s series is like monuments that remind us of the violence and boredom that is carved in our collective memory.