Farzan Sadjadi paints bleak scenes from the suburb of Tehran in which he resides, a region shot through with poverty and crime. Working in household paint on canvas, and in a dark, subdued palette, Sadjadi conveys the gloom and heaviness of life on the margins. Daily Labor (2011) depicts a farmer and his wife toiling while the wind blows around them; other images include a group of goats resting among thorns, a dog stretching alongside a carcass, and telephone poles devoid of wires. Speaking about the sense of desolation that pervades his paintings, Sadjadi has said, “It’s a general feeling I have; not about Iran, but about myself. Having no one to communicate with, no one to talk to who really understands you.” He has also painted scenes inspired by the central Iranian village of Mar, a place close to total abandonment due to harsh living conditions and a dearth of natural resources.