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Cyrah Dardas is a Queer, eco-romantic artist and care worker of the Persian diaspora living in Detroit /Waawiyaatanong, Anishinaabe territory. Dardas uses her art practice as a tool in remembering the lost relationships between humans and non-human beings by regulating and healing our collective nervous system and body to restore interdependency. Cyrah’s work is informed by their  experiences  in childcare, gardening, as a member of artist cooperatives and through their work with natural fibers, earth pigments, and botanical inks. Their practice is deeply rooted in ritualized art making, using the process as well as the work itself as a tool for grief composition, and collective healing . 


Artist Statement


Through my practice, I address the ecofeminist parallels in the treatment of femmes and gender-expansive folks, and the mistreatment of the earth by toxic hierarchical systems like the patriarchy and by extension, capitalism. I seek to reestablish forgotten and disrupted relationships and patterns between humans and the rest of creation that have been disrupted by these systems. I suggest our pathway towards this reintegration of humans and earth is to dismantle settler colonial anthropocentrism, hetero-supremacy, and the constructed binary of gender within ourselves.  I use process as a portal of regulation and healing for myself from these systems, and offer it to others through ceremony to restore our collective ecological body and return to interdependence. This guiding philosophy of ecofeminism, leads me to an interdisciplinary practice that observes, engages and celebrates life in its various phases and forms. 


My work is an archive of continual search and discovery, a somatic remembering,  a way of engaging in and relating to the world and a practice of composting grief. I come to this practice as a survivor of familial and intimate partner violence living with PTSD, co-creating frameworks of care and belonging  to heal and chart out pathways towards repair for myself and those that engage with my work. 

In my Practice, I reference the technique, relationality, and symbolism of Persian tapestry (Kilim) making. Making in this site specific way, on the urban, industrialized land of Detroit results in finished works made of a composite of botanical and man made source materials. I make inks, dyes and watercolors from grown and foraged plants, found recycled metal, bark, ochres, fallen house paint chips, ashes, brick and stone. The colors and textures derived from the materials reflect the landscape and identity of the land I live within. It is my belief that by honoring their origins, I reference their lives and stories. My paintings and textiles are cosmological maps made with place based elements of my surroundings. In my sculpture work, I reference the dictated mathematical progression of plant growth, shell formation, and the fractal mechanics of seed pod dispersion to draw attention to their intelligent design. 


Curiosity, biomimicry, and connection are integral to my practice as it is a reflective and relational process. I seek a re-belonging to this land that can only be possible with deep study and rigorous listening. I do this for personal liberation and to move toward a regenerative way of being on this land and with others who also inhabit it.

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