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Raheleh Filsoofi

Biography
Raheleh Filsoofi received her BFA in Ceramics from University of Alzahra, Iran.
She was one of the designers and project managers for Gardoon Mehr Ceramic Studio in Tehran for four years before moving to Toronto, Canada and then Miami, Florida. She has taken workshops with Peter King, Xinia Marin, Donna Polsenno and Walford Campbell, all renowned ceramic artists in the United States. Raheleh’s work ranges from large, architectural constructions to smaller, more intimate pieces. She is an exhibiting artist and has been in juried shows in Iran and the United States.
Her work is currently available through these galleries:
Coconut Grove Art Gallery and Design Center, Coconut Grove, Florida
Innovative Surfaces Tile Design Center, Coral Gables, Florida
Rain Barrel Gallery, Islamorada, Florida
Ocean reef Art League, Key Largo, Florida



 
 

Gaia(The Goddess of Earth)
62x15x10 CM
Clay,Glaze cone 6
2009


 
 

Gaia(The Goddess of Earth)
60x14x8 CM
Clay,Glaze cone 06
2008


 
 

Gaia(The Goddess of Earth)
19x8x5 CM
Clay,Glaze cone 6
2009


 
 

Gaia(The Goddess of Earth)
18x7x5 CM
Raku
2009


 
 

Woman
25x12x6 CM
Raku
2009


 
 

Anahita(The Goddess of Water)
35x12x10 CM
Clay/Glaze cone6
2009


 
 

Anahita(The Goddess of Water)
35x16x12 CM
Clay/Glaze cone6
2010


 
 

Anahita(The Goddess of Water)
26x12x10 CM
Clay/Glaze cone6
2009


 
 

Anahita(The Goddess of Water)
15x12x7 CM
Clay/Glaze cone6
2009


 
 

Anahita(The Goddess of Water)
59x10x9 CM
Clay/Glaze cone6
2009

 

Artist’s Statement
Clay is complete. It is the medium where I can express myself fully. The basic elements of the universe are within clay. Water, fire, wind and earth, beckon me to discover, to search them out and give them form. Whether I am making a tile, a sculpture or a pot, when I touch the clay I listen to its spirit. The clay and I speak a common language, earth to earth, fire to fire and together we create one voice.

It is through my clay that I have explored the roles of potter, sculptor, and architectural ceramicist. Clay lets me examine my life and through it shape my identity as woman, as artist, as Iranian. My art is the sum of my experiences. As I journey through contexts and time I have become aware of how deeply rooted I am to my culture’s rich history. Ancient Persian art is both mysterious and fascinating. Its patterns, colors, and vibrancy have traversed the centuries and they have endured. They are the wind that stokes the passion I feel for my culture and for my clay. Like water, I must find their source and mine, the wellspring which nurtures my creative expression and preserves my culture’s artful soul.

The Goddesses
It is my desire to bring to the public’s awareness a forgotten goddess and explore her mythology. Anahita, the “immaculate one”, goddess of water, fertility, protection, war, healing and wisdom, whose name was once known and worshipped, now has fallen to obscurity. All cultural myths should be maintained. Imagine Greece without Athena or Aphrodite. Without Anahita Iranian culture is incomplete. In ancient Persia she was revered, her name chanted and extolled, now it is not even whispered; in modern Iran, she is not acknowledged. What became of her statues and temples?

Anahita symbolizes a culture, which much like her embodies contradiction. Why is she a goddess of war, yet, also a protector and a healer? How did a female become the most important deity of Zoroastriansim, an established religion in Persia, and then vanish from the cultural narrative? Water and wisdom are associated in many cultures, so it is with Anahita. Water, a life giving element, without it, we cannot be sustained. Wisdom, without it, we cannot sustain ourselves in tomorrow’s world.

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