Artist Vian Sora Finds a Home in Abstraction

This is part of why Vian Sora believes miracles happen:

It was 2003, just after the fall of Saddam Hussein in Iraq, and Sora, a promising young artist who’d had successful shows in Baghdad, was on her way back to that city, her home, with her family, having waited out the siege in a nearby village where she painted by lamplight. Baghdad is where she’d dug around in her grandparents’ garden as a child, carrying sediment to the fountains to make clay. This is where she had grown up living a double life, keeping her mouth shut during the day about the egalitarian beliefs her family espoused in private at night, and the documentary about the plight of her fellow Kurds they’d secreted into Iraq. 

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