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It explores how the Afghan-Canadian artist uses fabric, hand-painted elements, and material illusion to evoke diasporic belonging as a sensibility rather than a fixed place. Works such as A.K. Fabric Shop and textile still lifes are analyzed for their tactile memory, altered frames, vibrant playfulness, and the emotional comfort of familiar foods, linking geopolitical experience and gendered contexts through lush color and layered sociality.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/the-visual-vocabulary-of-belonging-in-hangama-amiris-wandering-amidst-the-colors-web-review/492391/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/the-visual-vocabulary-of-belonging-in-hangama-amiris-wandering-amidst-the-colors-web-review/492391.png","ImageObject",300,407,{"name":92,"@type":93},"Jordan Avery","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-22","2026-10-01",true,{"@type":102,"interactionType":103,"userInteractionCount":14},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What does the review suggest about the concept of home in Amiri’s work?","Question",{"text":112,"@type":113},"It argues that home can function as a sensibility or aesthetic feeling, not only as a fixed physical place. The exhibition presents belonging through color, layered sociality, and tactile materials.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does A.K. Fabric Shop relate to memory and the idea of the frame?",{"text":117,"@type":113},"In A.K. Fabric Shop, the fabric store’s interior is recreated using textiles sourced from the titular shop, merging form and content. The work’s improvised, imperfect edges challenge traditional rectangular framing, reflecting fragmented memories without perfect boundaries.",{"name":119,"@type":110,"acceptedAnswer":120},"How do the textile still-life works connect viewers to diasporic experience?",{"text":121,"@type":113},"They reinterpret traditional still life using fabrics and acrylic paint, paired with foods associated with roots. The review emphasizes playful, sensory presentation and emotional comfort rather than mortality-themed symbolism.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},492391,1792662204,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":81,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":143,"read_time":24},1099523882367,"https://ap-avatar.wpscdn.com/davatar_9964176cb1d06d4a9deccf72a44ae3dc","HANGAMA AMIRI , Gulzar, Beauty Salon, 2021, chiffon, muslin, cotton, polyester, velvet, silk, faux leather, inkjet print on chiffon, suede, iridescent paper, found fabric, 279.4 × 365.8 cm. Photo by Nabil Harb. All images courtesy the artist and albertz benda, New York.  \nTHE VISUAL VOCABULARY OF BELONGING IN HANGAMA AMIRI’S “WANDERING AMIDST THE COLORS”  \nWEB REVIEW BY EMILY CHUN  \nALBERTZ BENDA  \nFor those of us who immigrate out of our home countries as children, it’s difficult and potentially futile to conceptualize home as a specific place. In lieu of a fixed physical location, home is often recommended to be situated in people—home as loved ones and family. But can home be a sensibility? An aesthetic feeling? Afghan-Canadian artist Hangama Amiri’s exhibition “Wandering Amidst the Colors” suggested it can. Having left her birthplace, Kabul, as a child due to the Taliban and grown up subsequently in Iran, Pakistan, and Tajikistan, Amiri often centers her practice on the effects of geopolitical conflicts and gender norms, evoking a diasporic visuality marked not by loss or precarity but by lush colors and layered sociality. For her first solo show in New York at albertz benda, Amiri employed various fabrics and hand-painted elements to depict Central Asian diasporic communities—encapsulated in supermarkets, beauty salons, restaurants—in Flushing and Jackson Heights neighborhoods in Queens.  \nChun, Emily.“The Visual Vocabulary of Belonging in Hangama Amiri's 'Wandering Amidst the Colors'” ArtAsiaPacific, [https://](https://)[ ](https://)[tinyurl.com/w24u6hvv](tinyurl.com/w24u6hvv)  \nInstallation view of HANGAMA AMIRI’s (left) A.K. Fabric Shop , 2021, chiffon, silk, stain, muslin, cotton, lace, polyester, suede, paper, iridescent  \npaper, denim, ikat printed fabric, faux leather, color pencil on fabric, velvet, camouflage, found fabric, 287 × 251.5 cm; and (right) Self-portrait with  \nAfghan Suzani Textile , 2021, muslin, cotton, polyester, Afghan textile, silk, handmade ikat print, found fabric, 182.9 × 137.2 cm, at “Wandering  \nAmidst the Colors,” albertz benda, New York, 2021. Photo by Casey Kelbaugh.  \nInA.K. Fabric Shop (2021), Amiri recreated the interior of an Afghan-owned shop in Chelsea that she began to buy fabrics and textiles from in 2019 while working on her MFA at Yale. Textiles serve as a potent, haptic connection to her childhood: Amiri grew up living close to bazaars in Afghanistan, Pakistan, and Tajikistan that abounded with colorful textiles. In A.K. Fabric Shop, the form and content collapse: a fabric store packed with lines of fabric rolls is depicted using the actual fabric—chiffon, silk, satin, muslin, cotton, lace, suede, denim—sourced from the titular store. The use of slight illusionistic depth gives the viewer a sense of peering into the store, and the work’s edges resemble organically cut fabric, circumventing the rectangular framing and linear boundedness of traditional canvas. On reworking the notion of the frame, Amiri says,“I choose to work with fabric because it helped me resolve a question I repeatedly asked myself within my studio practice: the issue of the frame . . . When I work from memory, those memories never have a perfect edge. I wanted to rip apart the frame because I am interested in the imperfections and fragmented edges of my memories.”  \nAs such, Amiri’s choice of medium goes beyond questions of hierarchy between textiles and traditional mediums such as painting (and accompanying issues of gendered labor) to ask what the medium of textiles does, not just signifies. For Amiri, textile as a medium is able to evoke the fragmented nature and mutability of memory and place. In her works, textile is not merely an abstract tool to contest the canonical enshrinement of painting and sculpture; while indeed functioning in this symbolic mode, textile also operates as a medium in its own right, fully fleshed out and luxuriating in its materiality.  \nChun, Emily.“The Visual Vocabulary of Belo","cbCaimCgQdKlFNLj","https://ap.wps.com/l/cbCaimCgQdKlFNLj","pdf",1579627,"English","# The Exhibition and Its Core Idea\n## Home as Sensibility\n## Fabric, Memory, and Reframed Boundaries\n## Textile Still Lifes and Diasporic Comfort","[{\"question\":\"What does the review suggest about the concept of home in Amiri’s work?\",\"answer\":\"It argues that home can function as a sensibility or aesthetic feeling, not only as a fixed physical place. The exhibition presents belonging through color, layered sociality, and tactile materials.\"},{\"question\":\"How does A.K. Fabric Shop relate to memory and the idea of the frame?\",\"answer\":\"In A.K. Fabric Shop, the fabric store’s interior is recreated using textiles sourced from the titular shop, merging form and content. The work’s improvised, imperfect edges challenge traditional rectangular framing, reflecting fragmented memories without perfect boundaries.\"},{\"question\":\"How do the textile still-life works connect viewers to diasporic experience?\",\"answer\":\"They reinterpret traditional still life using fabrics and acrylic paint, paired with foods associated with roots. The review emphasizes playful, sensory presentation and emotional comfort rather than mortality-themed symbolism.\"}]","The Visual Vocabulary of Belonging in Hangama Amiri’s “Wandering Amidst the Colors” - Web Review | PDF",1790862756]