Sara Khosrovani Solo Exhibition 

Lutetia ART-at-TAC May 2023 Exhibition

Abundant Narratives

It is difficult not to be wowed by Sara Khosrovani’s paintings when you see them in person. The richness of colour and patterns immediately takes one’s breath away, but what really draws the viewer in are the abundant narratives on canvas, some obvious, some enigmatic, and often with a sense of joy. The self-portrait with son, for example, depicts an intimate moment of motherhood to which many mothers can relate. While a relaxed, happy child clings onto the mother in contented rest, the mother sits somewhat stiffly, with an elegant glass of drink in hand. She is tired but also content and introspective. Stylishly dressed in a black evening dress and pearls, is this a moment just after a party? Peeking out from under the dress is a colourful slipper whose patterns and colours are incongruous to the rest of the outfit. Could it be a reference to the mother’s/artist’s cultural heritage? The books and single white flower on the sofa also intrigue. Are they simply a reference to activities during the day, or symbols of knowledge, intellect and innocence?

Ornamental Patterns and Nature

A common feature in Khosrovani’s paintings is the use of patterns. In addition to common ornamental patterns such as stripes and harlequins, her patterns often incorporate elements from nature such as vines and flowers. Dynamic and often with a sense of upward movement, these patterns seem to symbolise the flourishing and unstoppable forces of nature on Earth. The painting of an empty chair with hens loitering around it is especially potent with meaning. The patterns on the wall seem to sway and grow. The hens and a single white egg on the empty chair could be interpreted as symbols of fertility. If one looks closely, there is also a pair of female slippers carelessly discarded, one slightly off the picture frame, adding to the sexual energy in this curious scene of sophisticated domestic setting taken over by nature.

Sara Khosrovani 

Born and raised in Tehran, Iran, Khosrovani’s use of patterns to create an overall pictorial plane where space is ambiguously defined is reminiscent of Persian miniature painting. In addition, her paintings are full of narratives, some fantastical, some warm and down-to-earth. Like the works by Frida Kahlo, each image is a story unfolding in front of the viewer, full of narrative elements for the viewer to decipher. Khosrovani weaves her striking patterns into these visual stories to create an undercurrent of visual and emotional rhythms in all of her paintings.

Khosrovani grew up in an artistic family and has always been surrounded by art. A pharmacist by education, she moved to and settled in the Netherlands for PhD research after completing her doctorate studies at Tehran University. She moved with her husband and son to Taiwan in August 2022, where she continues to work and paint. According to Khosrovani: 

“The light in Taiwan as well as the fabric of the city and the surrounding nature is very inspiring. The colourful flowers on the green backdrop and the magical trees are a pleasure to the eye”.  

The exhibition at ART-at-TAC is her first exhibition in Taiwan.


Jessica Wang Simula was born in Taiwan but has lived in six different countries since adolescence before relocating back to Taiwan with her family over three years ago. Having worked in the arts in Shanghai and London, she is interested in how the arts can start new conversations, build communities and connect people.

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