Artist / Visual Researcher / Brand Strategist
Toronto, Canada
2026
Neshat Neishabouri (b.2000) is an interdisciplinary artist, designer, and visual researcher based in Toronto. Her practice moves across visual communication, material experimentation, and cultural research, exploring relationships between memory, rhythm, sound, and systems of meaning.
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Email — neshat.neishabouri@gmail.com
Instagram — @neishaneshat
LinkedIn — linkedin.com/in/neshat-neishabouri
Résumé — PDF ↗↗
Type Residency / Performance
Year 2025
KhotootinBlue (Lines in Blue) is a participatory performance developed through residency work with the FLIP Foundation, OCAD University, and Mass Culture. The work takes censorship, and the political instrumentalization of art, as its central concern, proceeding from Neishabouri's conviction that to subordinate art to ideology is to foreclose the very conditions that make it meaningful.
Loc. BodyShop Studios
Date June 2024
Doc. 02
Video: Amir Khoshnevis
Doc. 03
Photo documentation courtesy of
Tugce Tasdemir.
The performance invites collaborators into a collective journaling exercise in which the body becomes the site of inscription. Participants mark one another's hands and legs with an unmediated outpouring of thought, dissolving the boundary between writer and written-upon, between private interiority and shared surface. In bringing together performance and the written word, practices Neishabouri understands as resistant to containment, KhotootinBlue insists on art's capacity to hold complexity, provoke inquiry, and remain answerable only to itself.
Doc. 04
Doc. 05
Doc. 06
Doc. 07
Participants:
Chelsea Davis
Natalie Obregon
Kyle Alan-Nguyen
Shayan Mahoutforoush
Rojeh Mostofi
Parham Badiee
Behrad Sajasi
Ashkan Shamlou
Armin Saber
Type Aluminum Cast / Sculpture
Year 2025
There are encounters that arrive before language. Sealskin, Soulskin begins with one: a dream in which a tattooed baby seal emerged from a sand dune and led the artist toward three towering spikes rising from the earth, each one focusing sunlight downward into the sand below. At the threshold of that charged space, the seal turned slowly and looked directly into the artist's eyes.
Doc. 02
Weeks later, opening Clarissa Pinkola Estés' Women Who Run with the Wolves to the chapter "Sealskin, Soulskin" by chance, the artist found the dream waiting on the page — a selkie myth about a seal woman whose skin is stolen, who wastes away on land until she is led back to her true nature. Estés reads the sealskin as the soul made external: capable of being lost and, crucially, recovered. The chapter closes on the image of gazing into the wise, loving eyes of a seal. It was the line the artist had already dreamed.
Doc. 03
The three cast aluminum forms hold the geometry of that encounter, their surfaces dense with incised markings that read as tattoo, as topographic memory, as a language older than writing. What the work holds onto is the figure of being led: by something instinctual, already knowing the way, to a place where light concentrates, and where, at the end of it, you are seen.
- 1. Estés, Clarissa Pinkola.
Women Who Run with the Wolves, 1992.
Ballantine Books.
Title All Seeing Work, Forever Work
Type Documentation / Mayworks Festival
Year 2023
This project involved documenting Kamika Peters' sculpture, "All Seeing Work, Forever Work," exhibited in the Trinity Square Video vitrine as part of the Mayworks Festival (2023). Through photography and video, the documentation captured the sculpture’s presence within the space, emphasizing its themes and materiality.
Doc. 02
Type Booklet / Print
Year 2025
“Noise isn't just heard; it's felt. It fills space, drowns out meaning, and sometimes, it's all you can make.”
Noisy Book is an artist book built from years of diary entries, written in Farsi and English, accumulated and then layered on top of each other until no single entry remains legible. What emerges from that accumulation is something else: texture, density, the visual weight of thought pressed against thought. Pages move between total cacophony, scripts colliding until they dissolve into pure mark, and quieter states, where the lines thin out into something closer to weave or static.
The book treats illegibility not as failure but as form. When writing can no longer be read, it becomes something more like a surface — something felt rather than decoded. Scream and silence, held in the
same space.
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