We’re excited to introduce you to the always interesting and insightful Elly Kalantari. We hope you’ll enjoy our conversation with Elly below.

Elly, thanks for joining us, excited to have you contributing your stories and insights. One of the toughest things about progressing in your creative career is that there are almost always unexpected problems that come up – problems that you often can’t read about in advance, can’t prepare for, etc. Have you had such and experience and if so, can you tell us the story of one of those unexpected problems you’ve encountered?

Coming from a background in photography and painting, moving into sculptural work was like stepping into the unknown, full of unexpected challenges. When I started working on my life-sized sculpture “A Morphing Moment,” I didn’t know how to cast a full body, sit still for hours, or even what to expect. It was a frustrating and difficult process, but I wasn’t willing to compromise on my vision. I kept pushing forward, step by step, learning through failures and trusting that I’d figure it out.
That craving for the unknown has always been a part of my life. In my twenties, I used to travel randomly to unplanned destinations just to throw myself into new situations and see where it would take me. I get bored with the familiar, so I’m constantly seeking out new challenges. That mindset naturally transferred to my art-making. I didn’t know how to sculpt, but I embraced the process, knowing failure was part of it. It’s fascinating how the mind adapts when you trust the process, stay flexible, and just keep going despite the obstacles.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

For those who may not have come across my work before, I’m an artist with a background in photography, painting, and installation art. My practice has evolved over the years to include a wide range of media, from digital photography and video projection to immersive installations. What ties my work together is a focus on exploring transformation, fluidity, and the embracing idea of ‘the other.’ I’m constantly pushing beyond the familiar to see where new forms of expression can take me.

I started in photography more than a decade ago, and over time, I began to feel the need to break out of the flat, two-dimensional world of images. That’s when I began experimenting with more sculptural and immersive forms of art, diving into the unknown and embracing new challenges. Much of my creative philosophy comes from my life experiences, like my early twenties when I traveled to unplanned destinations, seeking the unfamiliar. That sense of curiosity and openness has become a central part of my work.

What sets me apart is my approach to creativity as an ongoing, fluid practice. I believe in looking deeply—beyond the surface of things—whether it’s life, culture, or the self. It’s not just about making art; it’s about how I live my life and process experiences. I take what I learn from personal experiences, especially the uncomfortable or unsettling moments, and apply those views to my work.

The sculptures I’ve made for ‘In Praise of the Unknown’ aren’t just about capturing the body’s likeness—they’re really about diving into the discomfort, the strangeness, and the unpredictability of certain moments. I’m fascinated by that tension, how something can feel unsettling yet also pleasurable. For me, the process of making art is about bringing together different ideas that seem like they shouldn’t fit but somehow do. I explore identity, which can feel intensely personal but also distant at times. I’m also trying to depict ‘the other’—a figure that’s separate from me, but still holds elements of myself. And in doing so, I’m creating something physical and visceral that reflects all of that—because I’m the observer, the muse, and the creator all at once.
A lot of this work tackles bigger questions about gender, about how women are represented in art, and how we’ve been viewed as “other” for so long. I’m always questioning how we perceive things that are unfamiliar, strange, or different. And I think that embracing those distinctions—those moments of unfamiliarity—can actually bring us a kind of peace, especially in a world that’s as globalized and multiethnic as ours is today.
What really drives me is the idea of challenging how we see things and embracing transformation. I’m constantly looking for the beauty in the unknown, in pushing past the familiar to uncover something deeper. So, it’s not just about how we perceive the unfamiliar, but how we let it shape us, how we grow through it. That’s the question I’m always exploring in my work.

What’s the most rewarding aspect of being a creative in your experience?

For me, creativity is a lifestyle. The ability to look deeply is the source of my creativity. It’s how I perceive and experience life in every moment, from my daily routine to the bigger intellectual and internal questions. Creating art is no different from living—it’s all part of the same process of creation. This perspective is especially helpful during difficult times; it gives me a broader view. I remind myself to step back, remove myself from the experience, and separate from it without judgment.
Looking deeply allows me to see my inner self—all of it, the beauty and the beast. I apply all of that in different layers of my art. When I look at history, I see that we, as humans, are a mix of good and bad. Acknowledging that and changing the narrative is one of the most rewarding parts of creativity. It’s about seeing things as they are, not just accepting them, but having the power to shift how we view them.
When I make art, it’s about letting my imagination run free—seeing things that don’t exist or that are invisible. It’s a way for me to navigate life and share my way of navigating with others through my art. It’s a reciprocal conversation. When I see a piece I’ve created, something that was just a fantasy or image in my head, it’s such a rewarding moment. It makes navigating life easier—things don’t feel unbearably heavy or overly exciting. It reminds me that, as a creative individual, I’m more than the experiences I go through in my physical body.

Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?

Living with a philosophy of fluidity—both in life and in my creative practice—isn’t something that happens overnight or easily. It’s an everyday practice. There are so many things I’ve had to face, look at closely, and unlearn, especially things I picked up during childhood, whether on a personal level or through cultural conditioning. These things are deeply intertwined.
I remember when I turned 18 and moved from my hometown to Tehran to attend art university. Suddenly, I found myself in a bigger environment with a completely different set of rules. I had to shed so many layers of myself and step outside the expectations placed on me. It wasn’t just about how I spoke, how I dressed, or how I interacted with others, but mostly about internal shifts. Some of these changes were semi-conscious, while others were happening deep in my subconscious. Even now, I still catch myself reacting to things in ways that are rooted in old habits. But over time, I’ve trained myself to recognize those reactions faster and replace them with new versions of myself.

Contact Info:

• Website: https://ellykalantari.art
• Instagram: @elly.kalantari
• Other: [email protected]

Image Credits

Courtesy of the artist