An exhibition of sculptures by Farzaneh Hosseini entitled The Intricate Knot was held at the Mah Gallery from the 12th to 22nd of May 2012. In this exhibition Hosseini had used a form familiar to the viewers to create her sculptures, a form that form the first glance moderates the sometimes difficult task of the near-incomprehensibility of relation between form and continent. The truncheon-like sculptures are made up copper, brass, wood and bronze in different sizes and forms which at times seem as though they are attaching the viewers while at others one is tempted to pick them up. Sometimes there are indeed notices which “invite the viewer to participate”. At these times the viewer finds himself challenged to receive and use this power. It seems as though there is a straggle to tack control of power and condemn the power of “others”. The shapes of Farzaneh Hosseini’s works sometimes remind us of the Heech series by the prominent contemporary Iranian sculptor Parviz Tanavoli (her teacher) who has created various forms and shapes of Heech in different situations and human forms. Hosseini’s truncheons have the same characters. They are caught between two walls in a “double pressure “, next to each other, “behind a wall”, hiding in an entangled form in “the patience threshold” which is overflowing, all of which push the viewer towards familiar experiences. In fact Hosseini’s knotted truncheons, entangled truncheons and truncheons under pressure show the oppressed or controlled powers who are living in distress. Hosseini’s truncheons, like Tanavoli’s Heeches, appear as different characters. There are truncheons in the shape of tribunes and those pushed in to televisions which seem to be, in Hosseini’s view, the powerful tools and propagators of power. Using another language she indicates the potential power of the mass media which people or organizations can use to influence the public in their favor. In fact it seems as though Hosseini’s truncheons are presented from two completely opposite aspect: some are knotted and subdued which is a symbol of power imposed, while others are stretched and smoothed which is one of imposing power as they are tools to oppress. At times they have a collar and at times they are ready to attack. Hosseini’s approach to the issue of power and her choice of familiar codes, alongside her frank and straightforward tone while playing with a variety of different elements and forms and playing them in human situation and addressing this problem, are the strengths of this exhibition. Moreover, the immaculate presentation with her strong technique and makes the different and various conditions more credible. In fact through her unique performance the artist uses the interaction of the viewer’s feelings and experiences and avoids the usual slogans and so has been able to successfully present one of the most sensitive aspects of today’s society. Also, through inviting the viewers to participate in imposing power, Hosseini challenges their feelings towards accepting and rejecting that power. And this is the rest of submission to a power where not everyone comes out triumphant, whether they are invited or not.