Publication No.3, 2022

/// “Shekarbaghan” is a process based project by Bahar Sabet with an autonomous and interdisciplinary approach, which is being implemented in one of the regions of Gilan province. In this project, Bahar tries to focus on the path and its concepts rather than presenting the object as output. That was second edition of Picnic project.

From/To Earth
On Shekarbaghan Project by Bahar Sabet

Upon hearing the term earth, a wide range of issues and concepts come to mind; from those pertaining to the creation to the ones relating to living conditions in everyday life and in connection with one’s city, neighborhood and home. The anatomy of human’s life is, from one aspect, a cycle undergoing changes/and repeating itself over time. Nature also has a broad concept embracing the physical world’s phenomena. In general, humans deem themselves part of nature. Thus, when artists are forging ahead with a project pertaining to these themes, they are, in fact, traveling along a path going from themselves to a whole. From different aspects, Shekarbaghan project lies somewhere on this route. The most important part of the project is the artist’s decision to create a phenomenon using a plant-based and edible raw material, which is placed in a garden or forest and, within a time period, undergoes transformation and eventually vanishes due to the environmental conditions and factors.
Sugar is the main material used in the project, which is implemented in a region home to many sugarcane fields and called Shekarbaghan (Sugar Garden) owing to the same reason. As a matter of fact, the artist’s emphasis is on preventing the raw material used in the project from turning into an aesthetic object and, instead, helping it remain in its primary situation and form while playing its visual role through reacting to environmental factors over a time path. A material that has come to existence from earth and has been processed goes back to earth as a result of a natural process. Along this path, the material also provides nutrition to insects. This is a cycle that begins from earth and, after ending, returns to earth. By intervening in the process, the artist demonstrates how this pattern of natural cycle can undergo changes in its essence due to the human role. This issue highlights the question how humans can impact the formation of different phenomena by intervening, in numerous ways, in the processes they go through.

Foad Alijani/January 2022