The Iranian-British photographer and film director Mitra Tabrizian’s work centres on issues of cultural identity and segregation, often with a clear political angle. She combines documentary techniques with those of film in elaborate photographic tableux, with the intention of highlighting the ideological mechanisms that constantly feed us with ideals, hierarchies and dreams. She focuses on depictions of everyday, seemingly trivial events in realistic settings. Yet the works can be read allegorically, commenting upon situations of personal and political tension within society.

The panoramic photograph, Tehran 2006, shows a modern but run down residential area on the outskirts of the gigantic capital. The surroundings betray a society lacking a working infrastructure, without gardens, street lighting and proper roads. A disparate group of people move about carrying out everyday business. Two ayatollahs overlook everything from an enormous propaganda poster on a hoarding, the form and scale of which is echoed by the photograph. Thus the significant size of the image is relevant to its message and visual impact. The image was staged using locals who were invited to participate. A setting was chosen and used without any significant alterations or digital manipulation. However, in the midst of the dusty suburban commonplace, the evasive looks and sense of reverie create an overall surreal effect. Moreover, through its metaphorical exploration of states of isolation and exile, it reflects a nation where ideological and religious tensions are mounting.