‘Hazy images reveal stories’

“Labor” (colored pencil on paper), by Azita Moradkhani, at Samson Projects, Boston, through May 21.

The gallery says:

“Azita Moradkhani was born in Tehran where she was exposed to Persian art, as well as Iranian politics, and that double exposure increased her sensitivity to the dynamics of vulnerability and violence that she now explores in her art-making

“Moradkhani’s work in drawing and sculpture has focused on the female body and its vulnerability to different social norms. It examines the experience of finding oneself insecure in one’s own body. As Wangechi Mutu says, ‘females carry the marks, language, and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.’ In her drawings, the incorporation of unexpected images within intimate apparel intends to bring humor, surprise and a shock of recognition. Layers of hazy images reveal stories, with the hope of leaving a mark on the audience. Two worlds–birthplace and adopted home–live alongside each other in her work, joining intimately at a single point.’’

How languages lose function

"Truth of Consequences'' (two channel video), by Furen Dai, in her show and artist residency, at Samson Projects, Boston, through November.

The gallery says: "Furen Dai spent years as a professional translator. Her history and interest in linguistic studies has guided her artistic practice since 2015 around the research and development of a nearly extinct language called NüShu. It is the world’s only known language created for and used solely by women. Through this language, the women of Hunan Province, China, managed to build their own secret society. Since her research trip to Jiang Yong, a small village where the language was still being spoken for the primary purpose of a museum attraction, Dai’s practice has focused largely on the economy of culture industry, and how languages lose function, usage, and history. Furen Dai’s hybrid art practice utilizes video, sound, sculpture, painting and collaboration.''

Creepy walk in the woods

"Container #2, 2016'' (pigment print mounted to dibond), by Joiri MInaya, at Samson Projects gallery, Boston, through Jan. 28.