Abstract
ABSTRACT This essay explores the significance of a series of posthumously discovered, staged, colour photographs of twin boys holding rifles, as well as a short screenplay entitled ‘Tulips Bloom’, that the internationally-recognized artist Sadegh Tirafkan (1965–2013) created as a youth in Ahwaz, Iran, in 1982. Taking into consideration the context of the Iran-Iraq War (1980–1988) and the related culture of martyrdom that so strongly affected the region and the artist's imagination reveals a subtext of trauma that may – the author proposes – explain the prominence of visual motifs, symbols and themes that recur throughout the artist's subsequent 30-year career. The author relies upon visual analysis of the artist's photographic art, published interviews, comparative visual analysis involving Iranian visual culture from the era (Balaghi; Chelkowski and Dabashi; Saramifar; Varzi); art history (Daneshvari; Foster; Keshmirshekan; Nazari; Porter); and theories of trauma from psychology (Herman), literary theory (Caruth) and sociology (Alexander; Erikson), in order to provide a new understanding of the artist's work throughout his career, from 1982 to 2013, and how the Iran-Iraq War shaped notions of Iranian post-Revolutionary identity in terms of military sacrifice and death.
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