During our pop-up at Dahl agenturer, we showed works by Mehregan Meysami, a completely new artist for us. It's time she gets a proper presentation!

Mehregan Meysami has studied art in Tehran, Pasadena, Oslo and the Royal Institute of Arts in Stockholm, with a master's degree from latter in 2022. She lives and works in Stockholm since her graduation. In 2022 she was awarded the large Ann Margert Lindell stipend in printmaking, which was what made us discover her work.

Mehregan Meysami’s practice is inextricably connected to the intangibility of time, memory, history, and structures of the language. She works media- archeologically with analog film and text, and her practice includes film, installation, sound, and works on paper. She is influenced by the historical turning points, and her work is often oriented around a political-historical horizon with a quasi-autobiographical approach, reflecting on representation, temporality, authenticity, presence, memory and time, but also erasure of those.

Poems of Decay XI

Poems of Decay XIX

The print series Poems of Decay is a documentation of a decaying flower bouquet in the home of the artist, within 36 days, on 36 strips of 16mm film. Meysami used a pinhole camera as a low-tech device for employing a relatively blind way of image-making. The lack of viewfinder imposes a lack of control, as there is no possibility of adjusting composition and previewing the subject in front of the camera. Hand processing of the film in a DIY manner creates the scratches on the images. 

Poems of Decay seeks to explore the process of decay and the unpredictability even more through the process of risograph printing. A risograph is a type of printer that the artist can feed with pigments, stencils and paper. In recent years it has become increasingly popular among artists. In Poems of Decay, each image is comprised of three different colors of red/magenta, blue and yellow. The dots of the riso printing adds even more grain to the grainy film, along with the scratches. 


The Shapeshifting series reflects on human and political life through the usage of images and archival materials from the aftermath of the Iranian revolution in 1979. This body of work is situated in the liminal space between “then and now”, “abstraction and representation”, “absence and presence”. It depicts an interstice, where it is as poetic as it is political, where the knowledge is never in view, but always found in the gaps.

View all artworks by Mehregan Meysami