My name is
Narges Naserizaker
Welcome to my website and art portfolio. My practice emerges from a long-standing fascination with in-between spaces: spaces where boundaries do not remain stable, where the line between form and the ghost of form can no longer be clearly distinguished, and where meaning resists complete clarity. It is this unstable and generative territory that I continue to explore through painting, photography, and video art.
I am particularly drawn to moments, images, and archives that exist between categories and between dominant systems of meaning. For me, the in-between is not simply a formal concern; it is also linguistic, historical, and political. I find this space in bilingual archives, in manuscripts, and in visual or textual worlds where no single language can fully dominate another, where legibility is partial, and where ambiguity becomes productive rather than deficient. These are the sites where translation, fracture, memory, and erasure coexist.
With a background in art history, manuscript culture, painting, and photography, I approach artistic practice as both a visual and investigative process. My engagement with manuscript culture has shaped the way I think about images: not as isolated aesthetic objects, but as layered surfaces carrying traces of multiple histories, voices, and acts of transmission. I am interested in how forms survive across time, how they are transformed through displacement, and how archives can remain haunted by what they preserve as much as by what they exclude.
In my work, art becomes a place where the middle space reveals itself in different ways: at times frightening, at times magical, and at times profoundly ambiguous. I am interested in moments when an image is not fully fixed, when a text hesitates between languages, when a body or a form appears suspended between presence and disappearance. These are the thresholds I return to again and again. Through them, I try to understand how visual language can hold instability, and how uncertainty itself can become a method of seeing.
As both artist and researcher, I see my practice as an ongoing search through form, archive, and history. This search is not about arriving at a final certainty, but about locating myself within these shifting relations and articulating a position through making. My work asks how art can inhabit the unresolved, how it can remain open to contradiction, and how it can create a space in which memory, opacity, and transformation continue to speak.
