Fertile Wounds

Arman Abrahimzadeh OAM is an Australian anti domestic violence campaigner who in 2015 founded the Zahra Foundation Australia alongside his sisters, Atena and Anita. The foundation was established following the tragic murder of their mother, Zahra Abrahimzadeh, at the hands of their father in front of hundreds of people at the Adelaide convention Centre in 2010. The foundation supports women and children affected by domestic and family violence with a focus on the financial abuse and disadvantages suffered to ultimately promote the economic empowerment of women. In this painting Arman is cradled in the foetal position around the place of his mothers death. Signifying his innocence and child-like anguish, the blood still pools clearly, a sign the brutality inflicted upon his mother is never forgotten. He wears purple trousers, displaying his firmly grounded approach to women’s independence. His feet are bare connecting him to the childhood that led to this moment. In the painting Arman cradles and supports the golden chalice or urn – a symbol often related to life, death, family and tradition. In this instance the chalice is also a visual metaphor for The Zahra foundation – a foundation that is precious, shining and offers a potential pillar for independence and growth. The incredible larger-than-life Lotus flowers that bloom out of the urn (rising from the ashes) are the women touched by the Zahra Foundation. Traditionally the Lotus flower tells the story of purity, regeneration and rebirth despite tremendous suffering. The background of the painting represents a painful glassy past. One that is sad, unknown, cold, tumultuous, and out of focus. A stark contrast to the bright clarity of the present and the future. Subtly, the Lotus flowers are touched by the painting’s background, signifying the awareness of the challenge, pain and suffering endured, yet they are flourishing none the less. Lastly, in the pool of blood, just below the urn of the foundation, is the hint of a reflection. A spiritual reflection. A lotus reflection. The memory of his mother.

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Marieka Hambledon is an Adelaide based portrait artist whose work explores the human condition. Hambledon grew up in an artistic household and started painting from a young age. She began her university studies in film, before transferring into a fine art degree and then eventually studied graphic design that lead to a successful 10-year career.

With her parents involved in both theatre and counselling, Hambledon was drawn to painting different characters and exploring what it means to be human. Hambledon’s art practice is primarily in acrylics to achieve her distinct dotting style. Her technique is inspired by the pointillists, utilising colourful dots and optical blending to achieve a photo realistic appearance.

Hambledon’s work is in many private collections in Adelaide and Victoria, and a commissioned work was offered as the prize for the Howard Twelftree Award in 2016. In 2019 Hambledon was a finalist in the Kennedy Award, and a semi-finalist in the Doug Moran National Portrait Prize. Most recently, Hambledon was a finalist in the 2020 Bluethumb Art Prize and the SBS Portrait Prize.