Sexual organs are the only organs that speak because they have been transformed into telephone parts. In this collection, this reductive approach leads to down reduction and transformation of the identity of the individual in relation with her sexual identity. When a woman is one party of a dialog, specially with a man as the other party, she is evaluated according to a gender approach and her communicative signs are interpreted according to certain In the structure of patriarchic societies, however, gender becomes a key factor in formation of conceptual referrals and significations in communications. Sexual identity – as a sign of female body on which patriarchic society and culture imprint their whims and wishes – has a more pluralistic and non-signified context than the dominant notion that sees a direct relationship between women’s biology and their identity. These works do not represent an immaculate, neutral and direct situation in formation and conveyance of meaning either.

Six works in this collection depict busts in which reproduction organs have been transformed to communication tools – telephone set. Pluralistic factors organize the significations of these relationships, but in societies like Iranian society sexual implications and sexuality – womanish sexuality in particular – are effectively taken as main factors in interpretation of the message of the sender. In continuation of the aforesaid concern on uncertainty of meaning, other collections of works, consider relations in sexualized structures. The words are transmitted but the signified meaning is never conveyed. It means the exactness of what we hear and what has been told happens in an ocean of floating signifiers despite plurality in meanings and disambiguation.

In this situation the message is conveyed in its formal aspect without any additions or deletions, and apparently it is sent “exactly as it is”, while as far as meaning is concerned we face multi-layers and “chain of floating signifiers” instead of the signified. In an interactive situation a dialog takes place between the viewers and via this object, someone speaks and another one hears, and the status of sender and receiver changes in intervals. In this collection, the object of telephone set, as one of the symbolic symbols of communication in modern-day world, is magnified in size to find a symbolic and conceptual function and to impose its presence on the viewer. In these works, an ordinary object is blown up and exaggerated to the point of defamiliarization from the routine form in a bid to specifically bring to light the forgotten functions and aspects of the object. The expanded dimensions of objects in Abri’s works remind us of the gigantic icons of popular culture in “public art” creations by the pop art artists in urban spaces. It is an element adapted from the world around and personalized in the artwork to have a critical approach to and review of the real relationships via artistic expressions. Such grounds as linguistic structures made of letters, voices and pictures were presented in her previous conceptualist installation art and voice collections – such as “Rough Sounds” – and telephone set, as one of the basic symbols of this communication, has been meaningfully used in the majority of her art collections. Sara Abri, in her various art collections and creations, has worked on various aspects of the factors that depict communications from simple transmission of a “message” between the “sender” and “receiver” to the most complicated conceptual grounds. Therefore, in all interactions, the ground will be open for the formation of various interpretations on a linguistic sign, thus understanding the relationship between language and meaning, as a direct and one-to-one relationship, becomes highly challenging. Even in the “most immediate” forms of communication, the signified concept is always deferred, delayed, put off to interpretation. The message is conveyed from the sender to the receiver but meaning is never transmitted. Communications, in the sense of human interactions, imparts open and hidden aspects of exerting force and control instead of balance, supervision instead of interaction, and misunderstanding instead of understanding.

Defamiliarization minimalist artists