Abigail Doan



Purchase College, SUNY, Purchase, NY, BFA, summa cum laude, 1989
Princeton University, Princeton, NJ, undergraduate coursework, 1984
Additional coursework at The Center for Book Arts and Dieu Donne Papermill, New York, NY  



ی Ȑی :

یی ی یی ییј یی ǡ ϐی ی . ی ی ʘی ǘی ی یی ی ی ی ی ی ݡ ی ی ییی ѡ ی ی ی. ی ی یی ی ی یی ییی ϡ یی ی ی ی 4 ی. یی ی ی یی یی ییԐ ی ی ی ی .

ѡ ی ی یی یی ی ϡ ی ی . یی یی ی ی ǐیی ی ی ی . эϡ ی ی ی ی ی ی ی ی ی Ԙ . یی ی ی یی یی یی ی ی یی ی ј ϡ . ی ی ی ی ی . ی ʡ ی ی ی ی ی ј . ی ی ی ی ی ی ی ی ی ی ی ی.  

یی ی ی . ی ی ѡ ی ی ی ی ی ی ی . ی ی ی ј ی ی .

ی ی ی یԡ یی ی ی ϡ یی ی یی . ی ی ی یی. یی ی ی ی یی ی ی ϐѐی ی ی ی ϡ ی ی ی ی یʡ ی ی ی ی یی . ی ی ی ی ی ی ی ی ǘی ی ǘ ی ی ی. ی ی ی ی ی . ی ی یی ی یی ی ی یی ʘی ی ϡ ی ی. ی ϐی یی یی ʡ Ϙ ی .

یی ی ʭ ѻ ی ی . ی یی -ա ی ی ی ϻ. ی ی ی ی ی ی ϡ یی ی ی ی . ی ی یی ی ی یی ی ی . ی ی یی ی ی یی ی . ی ی یی ی ی ی . ی ی ی ی Ԙ یی . 

ی ی јی یی . - ی ی ی ی Ґ.( ی ی یی ی ی ی ی ی ی ی .) ی э ی یی ی ی ی یی ی ϐѐی ی . -ی ی ی ی .  

ی یی ǘ یی ی یی ی ی ی ی. ی ی یی ʘیی ی ی ی ی ی . یی ی یی ی ی ی ϡ یی ی ی ی ϡ ی ی ی ی . ی ی یی یی ѡ ی ی ی یی ی- ی . یی ی ی ی ی ʡ یی ی ی ی ی ی ލ ی ǡ Ԙ ی یی ϡ ی ی ی یی . ی ی ی ی ی ی یی ی ی ی . ی ی ی ϡ ϐی ی ی ی ی ی ی Ԑی . .




INTERVIEW with Abigail Doan

What is your impression about this festival?

I feel that this festival was important to participate in regardless of the international exposure that it gets initially. It is vitally important for Americans and Iranians to become more sensitive towards each other's cultures and environmental issues. Why not highlight the things that unite us rather than divide us? Artists must work towards building up what the media and our geo-political agendas seem dead set on destroying. I chose to participate in this festival as I respect Ahmad Nadalian as an artist and his efforts and work, first and foremost. I also admire the spirit and goodwill of his students. For me this was a chance to connect with like-minded people, regardless of locale. I also trusted them to follow out my design suggestions without my even being there. This was a rare occasion for our two cultures to become one.

What is the impact of war on environment?

Total devastation of surroundings, spirit, and outlook. It takes years to recuperate from the damage created. War also keeps us from seeing the world as a linked ecosystem, as the acquisition of prized territory becomes the end goal. War prevents us from dreaming about or realizing paradise on earth, a conversation that Dr. Nadalian and I have had in the past.

What we environmental artist can do for global peace?

Be humble, sensitive to new opportunities for collaboration, and share our visions openly. Being an environmental artist is no longer about site-specificity, for example, but rather about acting in unison and trying to interpret the fragility of a region that might be foreign to you. It is the "foreign" that needs to become "familiar" and as cherished and protected as our own backyard. neighborhood, or village.



ʐ ی

ی ی یی ییی ی ییј ی ی :

یی ی ی .  ی ی ی ی Ԙ یی.

ݘ ی ј   ی . ی ی ی ی ی ی یی. ی ی یی یی یی یی یی ی یی . یی یی  ǘی ی یی ی ی .  ی ی یی ی ی.

ј ی ی ی ی ی ی ی ی ی یی . ی ǘ ی ی یی.   

ی ی ѐ ی ݘ ی . ی ی . ی ی ی یی .

ی ی ی ی :  ی ی ǡ ی ی یی.  ی  ی ی ی ی . ی ی یی ی ی یϡ ی   ی ی . یی ی ی ی ϡ ی ʐیی Ϙ ی ی.

ی یی ی ی ی ی ی ی ی ی ی ی ی ی ی. یی ی ی ی ی یʡ ی ی  ی ی ی ی ی ی ی ی ی.    ی ی ی ی یی ی ی یȐی یی ی .     


INTERVIEW with Barbara Roux: 

I am so proud of what you have done to help with world peace and habitat preservation.  My few conservation friends here are proud too. Thanks to you for the Art Festival.  I am overwhelmed by what you did.  I hope not only we but our countries can be friends too.  As to your questions below I will answer them now. More



Hormoz Island


Persian Gulf Residential Art Center in Hormoz Island



The Magic of Colors and Memory of Objects 25th Festival of Environmental Art in Iran- Hormoz Island Persian Gulf




Local Arts in Hormoz Island


My Art works in Hormoz Island


Fire: 23ed Environmental Art Festival in Iran - Paradise Environmental Art Center


The Guests of Desert: 22nd Environmental Art Festival in Iran - Isfahan- Talab Gawkhoni: (April 2009)



Dialogue with Nature: 21st Environmental Art Festival in Iran - Persian Gulf- Genaveh: (March 2009)



Works by Ahmad Nadalian in Darabad - North Tehran



In the Search of Lost Paradise


Bicycle Art & Recycle Art






About My Friend Abigail Doan: The Art Farmer

Ahmad Nadalian


Abigail Doan is an environmental artist who lives and works in New York City and Europe. Thanks to the latest information technology and the realm of cyberspace, we all have the opportunity to meet people from different cultures in order to build a better world. Despite critical disputes and tensions between American and Iranian politicians, Abigail and I have cultivated a virtual creative collaboration for the past four years. I feel rather indebted to Abigail, as she has been one of the principal editors of my English text for my websites and documents.




In contemporary art, it is a challenge to convey ones idea without a coherent artist statement. English is one of the common, dominant languages enabling us to communicate with other artists across the globe. It is also often difficult to translate an idea from one culture or language to another, though. Abigail has spent dedicated time to assist in expressing my works and the works of many young Iranian artists who have participated in the recent environmental art festivals in Iran. Beside this, she has interpreted and expressed her own point of view about my work. In this sprit, artwork in our time can be realized through interaction and open collaboration. When we attempt to interpret anothers artwork, we often can expand the meanings.








Abigail is a mother of young twins. Despite her role as a mother, still finds the time to write for numerous publications and realize her art projects. In order to appreciate her kindness, I would like to try to understand her artworks in relation to her personality.






More than three decades ago when land art was born in the wide, open spaces of the American west, environmental artists created huge artworks. They removed rocks and earth to create art in nature. Today environmental artists have learned that we should not necessarily alter the land or make radical changes, but instead work to keep nature intact, or even better, assist in its regeneration and preservation. We do not want to dominate, but in turn, understand what we have in common with nature and her ecosystems. There must be a rule and order behind all phenomena in the universe. We strive to remember archetypal rituals and a time when nature was revered by all. Nature is life and the abuse of resources is in many ways suicidal.





Abigail Doan often refers to herself as an Art Farmer. Besides creating environmental, site-specific projects she aims to cultivate her art like a gardener or farmer. There is a significant connection between femininity and cultivation, as the female body itself is a garden that nurtures the seed of human growth. This is why in many cultures women are depicted as a mother god and are historically a symbol of fertility and water. In prehistoric society fertility and the female were one in the same. From a metaphorical point of view, one might say that there is no distinction between a womans body, mind, and the land. All are a potential cradle for something to grow and flourish.



I have a variety of artistic practices and ideas in common with Abigail. Her site-specific works are often about a secret that she intends to leave with or give back to nature. (This is also what I am doing with my artworks, i.e. hiding cultural seeds in the earth.) Abigails fiber and textile projects are about transformative seeds and ideas for change that freely cross borders. My carved fish do not recognize borders, either.




In addition to working with seeds as a metaphor, Abigail eco crafts with natural fiber and recycled textiles. Her sculpture and installation works demonstrate a revival of feminine technique that is rooted in domestic labor and handicraft. For many centuries, art created in the home was not recognized as art per se, and those who outlined the history of art often overlooked the validity of this process. Thankfully, many contemporary environmental artists, both women and men, are helping to reconstruct and redefine this outdated notion. Abigail typically uses recycled textiles from the home, handspun wool, and organic cotton fabric and silk cocoons to create nests, wrapped bundles, and fiber forms that resemble archetypal eggs. These materials are expressive of an innate desire linked to resourcefulness and the process of sustainable regeneration. It is wonderful to cross-pollinate the stages of growth, life, decay, and the nurturing spirit between two artists in completely different zones and cultures on the planet. Our journey has only just begun.













A design suggested by my American artist friend, Abigail Doan.  I used local red earth pigment to paint her 'swallows' image on the rocks of Hormoz.