Jinoos Misaghi (b. 1989, Tehran, Iran) in her works courageously portrays a unique confusion. The way she puts the image together creates concepts that stand beyond critique, uncertainty, movement, gender, and home, in its literal sense of the word. In her works, human figures are constantly confronted by a labyrinth designed by the artist; A multifaceted and fragmented world that becomes an excuse for revealing the thousand more pervasive possibilities that the artist perceives as the painting itself. The oscillation of perspective, which is a recurring motif of this maundering symphony, can be an explanation of the intertextual relationship that the painter establishes with her geographical painting tradition, which is experienced by the audience as a kind of de-authorization of the final image. It is as if, in watching the whole work, each part of the painting becomes a window to enter another part that this entry does not necessarily establish a meaningful relationship with the image before and after. Like the labyrinth itself - whose destination is unknown and never reaches its final destination – Misaghi’s paintings end in the incompleteness of the narrative of each piece. She redefines contemporariness in her own way and forces her viewers to move in her works and become a part of them.

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