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FOUNDATION FRIEND
NEGIN DANESHVAR-MALEVERGNE
Paris FRANCE
I am a visual photographer, academic, and researcher in comparative and French-speaking literature. My artistic practice is deeply informed by literature which I use as a starting point to translate emotion and reflection on the place of Man in a world in crisis and plagued by multiple disruptions. My work rejects ideas of impasse or failure; instead, it seeks to be foretelling, combative, and constructive. Through photography, I explore buried truths and moments of cathartic beauty, aiming to momentarily disrupt violence, injustice, and historical imbalance. My recent work focuses on questions of power and domination, examining how war, inequality, and destruction fracture humanity, with particular attention to those most vulnerable: minorities, foreigners, women, youth, and children.
My process begins with reading and reflection. Each image emerges from a text that generates a line of thought I later condense into a visual metaphor. Early in my career, I experimented with slide superimposition within the American School of Photography, searching for ways to convey complexity beyond a single image. The dependence on laboratories, however, limited that freedom. The arrival of digital photography became a liberation, allowing me to fully connect literature with image-making, thought with emotion. I construct my photographs through carefully organized lines, geometric staging, and harmonic color, using structure to approach a moment of grace when meaning surfaces just before the image resolves. Each work exists as part of a continuous intellectual and emotional inquiry rather than as an isolated moment.
ARTWORKS
Modern City n° 11 (2016)
Negin Daneshvar-Malevergne
digital print on 240g satin photo paper
36H x 63W in (91.4H x 160W cm)
$910
digital print on 240g satin photo paper
36H x 63W in (91.4H x 160W cm)
$910
Modern City n° 6 (2017)
Negin Daneshvar-Malevergne
digital print on 240g satin photo paper
36H x 21W in (91.4H x 53W cm)
$800
digital print on 240g satin photo paper
36H x 21W in (91.4H x 53W cm)
$800
Modern City n° 4 (2016)
Negin Daneshvar-Malevergne
digital print on 240g satin photo paper
35H x 47.5W in (89H x 121W cm)
$600
digital print on 240g satin photo paper
35H x 47.5W in (89H x 121W cm)
$600
From Dead Time to Living Time n° 1 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
From Dead Time to Living Time n° 2 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
From Dead Time to Living Time n° 3 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
From Dead Time to Living Time n° 4 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
From Dead Time to Living Time n° 5 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
From Dead Time to Living Time n° 6 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
From Dead Time to Living Time n° 7 (2026)
Negin Daneshvar-Malevergne
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
digital print
19.7H × 35.4W in (50 × 90 cm)
From Dead Time to Living Time
How to live Time?
There is a faintly perceptible link between the fluid nature of time and the conception that humans have and have had of time throughout their history. Le Temps Mort is a time frozen in the past, it has lost its elasticity, it is stagnating. The humans who cross it have lost the ability to invent; Tyrants or subjects of tyranny, they become more and more blurred, at the risk of disappearing, since they live in an imposed impasse or one that they themselves have chosen. Choosing Living Time, like the biblical red apple in the series of photos, is not a Temptation, a Forbidden, but the curiosity to know or the curiosity to live differently. This forbidden removed, Living Time, like the apple that has become green or possible, in the series, would be Life itself, reinvented - the desire to create a future, in an open space, which makes the Freedom to dream, to create and to build, not a temptation, a prohibition, but a Right.
More than a legitimate Equality, a True Love n° 2 (2025)
Negin Daneshvar-Malevergne
digital print
135.4H × 27.6W in (90× 70 cm)
More Than Legitimate Equality, True Love
We live in an increasingly regressive and primitive world. Modern and traditional societies, apparently opposed, not necessarily using the same tools, join forces to subjugate and standardize individuals, transformed into slaves, from whom, without their perceiving it, the ability to be, to think, to resist, to create or to decide for themselves is taken away. Equality of rights, for a long time, under the banner of patriarchy, has become obsolete since the notion of "inferiority" has been invented, to revel in the pleasure of dominating: genders, races, communities, cultures, continents, countries, social classes... recognized as inferior. This series of metaphorical photos tells the story of Domination, first of all masculine, represented by the monstrous ancestry of bananas that isolate, subjugate, or sacrifice flowers, representing the feminine gender. The overthrow of patriarchal domination, imagined, is hardly a solution, since we are witnessing the same warlike logic, reversed, and fed by Hatred. True Love - the belief in the abilities and intelligence of each person, as an individual, and not as sex - is the only way to make the instinct of Domination useless to make Sharing possible.
digital print
135.4H × 27.6W in (90× 70 cm)
More Than Legitimate Equality, True Love
We live in an increasingly regressive and primitive world. Modern and traditional societies, apparently opposed, not necessarily using the same tools, join forces to subjugate and standardize individuals, transformed into slaves, from whom, without their perceiving it, the ability to be, to think, to resist, to create or to decide for themselves is taken away. Equality of rights, for a long time, under the banner of patriarchy, has become obsolete since the notion of "inferiority" has been invented, to revel in the pleasure of dominating: genders, races, communities, cultures, continents, countries, social classes... recognized as inferior. This series of metaphorical photos tells the story of Domination, first of all masculine, represented by the monstrous ancestry of bananas that isolate, subjugate, or sacrifice flowers, representing the feminine gender. The overthrow of patriarchal domination, imagined, is hardly a solution, since we are witnessing the same warlike logic, reversed, and fed by Hatred. True Love - the belief in the abilities and intelligence of each person, as an individual, and not as sex - is the only way to make the instinct of Domination useless to make Sharing possible.
More than a legitimate Equality, a True Love n° 5 (2025)
Negin Daneshvar-Malevergne
digital print
135.4H × 27.6W in (90× 70 cm)
More Than Legitimate Equality, True Love
We live in an increasingly regressive and primitive world. Modern and traditional societies, apparently opposed, not necessarily using the same tools, join forces to subjugate and standardize individuals, transformed into slaves, from whom, without their perceiving it, the ability to be, to think, to resist, to create or to decide for themselves is taken away. Equality of rights, for a long time, under the banner of patriarchy, has become obsolete since the notion of "inferiority" has been invented, to revel in the pleasure of dominating: genders, races, communities, cultures, continents, countries, social classes... recognized as inferior. This series of metaphorical photos tells the story of Domination, first of all masculine, represented by the monstrous ancestry of bananas that isolate, subjugate, or sacrifice flowers, representing the feminine gender. The overthrow of patriarchal domination, imagined, is hardly a solution, since we are witnessing the same warlike logic, reversed, and fed by Hatred. True Love - the belief in the abilities and intelligence of each person, as an individual, and not as sex - is the only way to make the instinct of Domination useless to make Sharing possible.
digital print
135.4H × 27.6W in (90× 70 cm)
More Than Legitimate Equality, True Love
We live in an increasingly regressive and primitive world. Modern and traditional societies, apparently opposed, not necessarily using the same tools, join forces to subjugate and standardize individuals, transformed into slaves, from whom, without their perceiving it, the ability to be, to think, to resist, to create or to decide for themselves is taken away. Equality of rights, for a long time, under the banner of patriarchy, has become obsolete since the notion of "inferiority" has been invented, to revel in the pleasure of dominating: genders, races, communities, cultures, continents, countries, social classes... recognized as inferior. This series of metaphorical photos tells the story of Domination, first of all masculine, represented by the monstrous ancestry of bananas that isolate, subjugate, or sacrifice flowers, representing the feminine gender. The overthrow of patriarchal domination, imagined, is hardly a solution, since we are witnessing the same warlike logic, reversed, and fed by Hatred. True Love - the belief in the abilities and intelligence of each person, as an individual, and not as sex - is the only way to make the instinct of Domination useless to make Sharing possible.
More than a legitimate Equality, a True Love n° 6 (2025)
Negin Daneshvar-Malevergne
digital print
135.4H × 27.6W in (90× 70 cm)
More Than Legitimate Equality, True Love
We live in an increasingly regressive and primitive world. Modern and traditional societies, apparently opposed, not necessarily using the same tools, join forces to subjugate and standardize individuals, transformed into slaves, from whom, without their perceiving it, the ability to be, to think, to resist, to create or to decide for themselves is taken away. Equality of rights, for a long time, under the banner of patriarchy, has become obsolete since the notion of "inferiority" has been invented, to revel in the pleasure of dominating: genders, races, communities, cultures, continents, countries, social classes... recognized as inferior. This series of metaphorical photos tells the story of Domination, first of all masculine, represented by the monstrous ancestry of bananas that isolate, subjugate, or sacrifice flowers, representing the feminine gender. The overthrow of patriarchal domination, imagined, is hardly a solution, since we are witnessing the same warlike logic, reversed, and fed by Hatred. True Love - the belief in the abilities and intelligence of each person, as an individual, and not as sex - is the only way to make the instinct of Domination useless to make Sharing possible.
digital print
135.4H × 27.6W in (90× 70 cm)
More Than Legitimate Equality, True Love
We live in an increasingly regressive and primitive world. Modern and traditional societies, apparently opposed, not necessarily using the same tools, join forces to subjugate and standardize individuals, transformed into slaves, from whom, without their perceiving it, the ability to be, to think, to resist, to create or to decide for themselves is taken away. Equality of rights, for a long time, under the banner of patriarchy, has become obsolete since the notion of "inferiority" has been invented, to revel in the pleasure of dominating: genders, races, communities, cultures, continents, countries, social classes... recognized as inferior. This series of metaphorical photos tells the story of Domination, first of all masculine, represented by the monstrous ancestry of bananas that isolate, subjugate, or sacrifice flowers, representing the feminine gender. The overthrow of patriarchal domination, imagined, is hardly a solution, since we are witnessing the same warlike logic, reversed, and fed by Hatred. True Love - the belief in the abilities and intelligence of each person, as an individual, and not as sex - is the only way to make the instinct of Domination useless to make Sharing possible.
Animals in the Dark n° 1 (2025)
Negin Daneshvar-Malevergne
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
Animals in the Dark No. 2 (2025)
Negin Daneshvar-Malevergne
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
Animals in the Dark No. 3 (2025)
Negin Daneshvar-Malevergne
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
Animals in the Dark No. 4 (2025)
Negin Daneshvar-Malevergne
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
Animals in the Dark No. 6 (2025)
Negin Daneshvar-Malevergne
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
digital print
27.5H x 27.5W in (70 × 70 cm)
Animals in the Dark
It is a critique of the various forms of Violence in our societies and in the world. The photos underline its dangerous upsurge leading to the regression of individuals - hence the creation of knots, balls of knots that suffocate human life. The closed or lying scissors symbolize the Resistance forced (of men and women) in silence, while the open scissors (open mouths), shouting in the light (yellow threads) represent a more assertive protest. The resistance fighters cut the red threads that linked, multiplied and reinforced the violence. The presence of yellow and luminous threads among the standing individuals expresses the desire to free themselves from the shackles of this Brutality. The last photo schematizes the Victory of the Human Resistance under, not one Sun, but several.
EXHIBITIONS
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