Selected exhibition work from Arezoo's fine-art practice, gathered through ceramic clothing, fired forms, wall pieces, and material studies.
A representation of the missing body: ceramic garments that hold the shape of clothing while making the absence of the body impossible to ignore.
The exhibition was dedicated to the people of Iran and connects grief, resistance, and remembrance through fired ceramic form.
The beginning of Arezoo's Ceramic Clothing experimentation. Most works were two-dimensional studies while she was learning how to form, shape, and fire the clothing pieces.
The title points to the kiln process itself: the point where clay becomes a hardened, glass-like ceramic body.
A compact archive of fired objects, sculptural studies, and vessel forms. The work sits around transformation: material moving through fire and returning changed.
The slideshow keeps the full set together so the exhibition can be reviewed as a visual body, not a single representative image.
Arezoo's first exhibition in Canada, featuring framed hanging wall fixtures made with clay, layered surfaces, and paint.
These works connect back to her earlier ceramic-tile wall displays in Iran. Some archive photos are older, but they remain important to the story.
Across the archive, familiar materials and domestic forms are translated into clay: clothes, vessels, wall pieces, and objects that carry memory.
Together, the exhibitions show the fine-art roots behind Secrets of Clay: sculpture, memory, surface, and the quiet force of objects made by hand.
