The way objects interact with each other in an image, in a frame could be emotive. I believe we are affected by this kind of correlation in life most of the time. Our memory also creates these frames of images, almost like glimpses of sight. When we force ourselves to remember a moment, it is these frames we enter in our minds. It is like a skeleton that carries the skin. Our memories make us whom we are in that sense. The frames we hid in our minds, are veiled images of moments of affection, disturbance, rage..

Photography, film or the idea of a collage are affective ways of pulling these frames out. More like defining moments. We can follow one’s gaze, or we could be drawn into the frame. There is always a gaze within another gaze.

For me Shirin Neshat’s frames of Tooba, really separates this idea of the male and the female gaze. With in the frame there is a story that we don’t have to hear about, the relation of the figures tell us the story.
The frames are open to interpretation. For me it is about the escape of a woman, where she really is by herself. The frames evoke all sorts of emotions, they are boundaries for boundaries, they reveal the way a woman moves, seeking a moment of disguise, or a place to hide.. She chooses a mass, to hide in.

She is this object for the male gaze, once she reaches to the tree, the tree disappears for her, and she disappears for herself. Than we see the men beyond the adobe walls looking at her, almost like a facade of men clothing, looking at the same direction. They can’t resist this object, this composition, and start falling into the boundary, and once they are within the periphery, they make a circle around her and the tree. There is this force created by her marriage to the tree, a force that creates gathering, pulling the gazes closer. It is the men’s horizon, their boundary.

Through a black veil, which only has one cut, the woman apprehends , senses , recognizes the world. She is already in a room, or behind walls. Her understanding of nature, man, social divisions, and relationships occur always behind a wall. The wall allows light, and it allows her to communicate through sight. I find this beautiful in the sense that, she could even conceive more than most of others, using only her vision to communicate, to relate, to show hatred, or love..

She is the private space for thought, and understanding, where as the male figure is the public space. He is more free in the sense that he doesn’t evolve in a physical boundary like the woman in the veil.

My question is how does one veil something in architecture in a way that there is the same type of provocation the female figure evokes for the male. How does a veiled object, a facade, a mask become this sort of force that allows us to break the boundaries. We break the frames, we start connecting them in such a method, that things will be still veiled, the secrets, the mysterious. How does one resist this type of force, and compose, enclose the imbalances. How do we bridge disconnections? Why don’t we reveal things in architecture, like the veil does for the woman, for purposes? For aesthetic reasons. It is beautiful, when we look at objects or buildings how many metaphors we can think of or recognize a building as only a metaphor sometimes..