Samira Hodaei

Sofreh refers to an iconic Persian fabric that is spread on the ground for eating or used as a backdrop for seasonal feasts and celebrations. Over time, the term itself has taken on a larger cultural significance, referring to concepts of gathering and sharing a place for family and friends to come together. In all ancient civilisations, especially in the Middle East, sewing and knitting clothes and household items (furniture, utensils, and decorative objects for domestic use) was predominantly a women’s occupation. Persian carpet weaving, one of the most highly regarded crafts, is the result of the labour of women and girls sitting behind a loom for months or even years. The image of an empty sofreh has long been used by Iranian people in peaceful protests. But Hodaei’s work suggests that its deeper significance lies in the femininity embedded in the very concept of sofreh. Indeed, the messages of love and the blessings worked into these simple objects by the women who made them were aimed at bringing the family together. In other words, femininity seeks plurality and togetherness and opposes violence and centralism. Thanks to these layers of hidden meaning, the simple spread becomes an iconic symbol.