Uranium Cake for Peace
Uranium Cake for Peace is a kaleidoscopic and highly saturated union of representational and nonrepresentational imagery presented in quasi-ornamental symmetrical configurations. In offering the viewer unexpected visual correlations, Dadfar seeks to speculate upon the construction of new imaginary worlds. By constructing rhythmical, poetic and metaphysical schemes, she invites us on a vector trip through atomic aesthetics and psychedelic femininities and toward a provisional transcendence. Here, we encounter a playful ambivalence that can oscillate between a visionary sublime, an apocalyptic spectacle, and a ridiculous fantasy. Dadfar’s transdisciplinary approach was born in an era characterised by postproduction and employs alienated quotations, reiterative templates and repetitive geometric patterns with a view to revealing unconscious and altered states. Such experiences demand a juxtaposition of expected and unexpected colour palettes—an oblique reference to the post-dialectical entanglement of Eastern and Western cultural values that is rapidly redefining the ground of human subjectivity in the twenty-first century. This implicit and speculative forecast of the hitherto unknown consequences of transnational globalisation— which is driven by a personal desire for some form of liberation from the ubiquitous implications of late-capitalism—seeks to blur formerly held distinctions between aesthetic and anti-aesthetic sensibilities in order to imagine new spiritual awakenings and subjective transformations, and by extension, peace on earth.