Femininity is a challenging phenomenon for many historical, cultural and social reasons in all over the world. On one hand, you are considered as human being, and on the other hand, you are faced with the fact that many of the written or unwritten rules have deprived you of the simplest human rights.
It is even harder to position women in traditional and religious fanatic societies. In fact, a woman in a traditional religious fanatic society has only two ways.
She should always be in conflict with some of the fanatical and ignorant congregation for the most simple and obvious human rights; the conflict, which will ultimately lead to irreparable damages and for sure, given the strength of her country's prejudices, she will not succeed in defeating the devilish forces.
The second way is to surrender; meaning, women continue to preserve their historic, social, traditional, religious status as an object or creature in the kitchen, bed, nanny or attempt to be as beautiful as possible or being the second gender as everyone expects her to be.
The works by Shojaian are not collage, but paintings. Seeing the works closely reflects this fact much better than their photos. These collage paintings, which originate from the beginning of the work on the surface of the canvas, are clearly handmade with a well-established quality. The aesthetics of Shojaian‘s Pop Art is limited to the selection of elements from various media and their integration. When it comes to implementation, she is honestly engaged in painting and, of course, she does not conceal the signs of wrestling with feminine colours used in the work. Except for portraits that are implemented in a precise manner, expressing and full of feeling, the rest of the parts is done with a view other than the technical implementation. At various stages of work, the overall composition and arrangement of elements throughout the board is contemplated and not the "perfection" of each element.
Shojaian is a painter, who cares about the physical quality of her works; for an instance, she does the surface preparation in a completely unique way or she shows the presence of feminine colour by spontaneous brushwork and a scattered toreutics and sometimes uses mediums other than colour (such as bitumen, used in this artwork). Although the use of bitumen in these works is mostly experimental, and eventually does not lead to a particular result, it may be a way forward for her future efforts. Despite her attempt to represent, she was never looking for a mechanical completion and photorealism evolved from Pop Art, which is a sign of her being associated with aesthetics more up to date than Pop Art. Her goal is not to create a product line but to experience the composition and representation.