Mamali Shafahi likes to make things complicated.

Born in Tehran, Iran, in 1982, just three years after the Iranian Revolution, Shafahi grew up in the aftermath of war. Censorship was the status quo, but there was one place of respite: the movie theater. Hollywood movies were banned, but European films were permitted and the Iranian filmmaking scene grew. Inspired by the likes of Jean-Luc Godard and David Lynch, Shafahi dreamed of becoming a filmmaker as a teenager.

“It was the only art medium [in Iran] that was very dynamic,” he said. “I really discovered the whole complexity of the outside world through cinema.” 

His move to Paris at 23 was a pivotal moment. As a gay man, he was finally free to be open with his sexuality, not closeted. And his career as an artist and filmmaker has flourished. 

Shafahi’s work is best described in one word: duality. His work – whether it be film, sculpture, painting or installation –  combines seemingly opposite ideas to expose viewers to something new. As he pulls inspiration from Iranian culture, ancient myths and pop culture, he aims to push the boundaries of filmmaking and art.  

“If I’m talking about pain, I want to bring joy. If I’m talking about horror, I want to make it pleasant,” he said. “I believe the whole world and reality is a complex thing. I want to add more to this complexity.”

Like any filmmaker, Shafahi’s art practice is propelled by collaboration. He works closely with his partner and fellow artist, Domenico Gutknecht, and envisions starting his own creative house one day. Shafahi also draws inspiration from his father, who became an artist at 72-years-old after Shafahi asked him to draw some images for an exhibition. 

Shafahi lives and works between Marseilles and Paris, France. He attended the University of Art in Tehran and the ÉcoleNationale Supérieure d’Arts Paris-Cergy.