Inspired by 19th century photographs from the Ghajar period – the first portraits to be permitted by religious law – Ghadirian carefully reconstructed the opulent style of these images with the help of many friends: borrowing antique furnishings and costumes, commissioning the painted backdrops, inviting them to pose in the images. Picturing each woman in a bygone era, each scene is jarringly interrupted by the presence of contemporary products – a phone, boom-box, hoover – pointing to a culture clash of tradition and progress. The women stare out from the photos with an unnerving directness, detached from their environment, and confident within themselves.

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