Mahsa Merci is an Iranian-born queer multidisciplinary artist. Merci uses various forms of visual media to challenge society’s traditional concepts of beauty. Her art specifically revolves around gender binaries and queer identities. Merci’s work is an extension of the suppressed role of LGBTQmembers of Iranian society and raises awareness of the discrimination and violence that occurs against sexual minorities in Iran.
Iran is a country which emphasizes the idea of hegemonic masculitnity, stressing male toughness, heterosexuality and strength. This follows the belief that masculinity is directly associated with competence and mastery; principally in work and home life. This soft essentialist outlook assumes natural differences between men and women, specifically in a binary. The Quran is most often interpreted to only condone sexual activity between a man and a woman. The Iranian Penal Code discusses same-sex actions in the same section as rape, sexual assault and incest, giving the implication that these actions are deviant and violent.
Merci’s painting “Miche”(2021) depicts a transgender individual, focusing on the person having top surgery and wearing makeup. While homosexuality is illegal in Iran under Islamic law, being transgender is not. Iranian authorities have forced thousands of gay and lesbian individuals, particularly gay men, to undergo gender reassignment surgery so that they are then attracted to ‘opposite’ sex. If they refuse, they can face jail time, and more often than not, the death penalty. The gender binary exists at an extreme in Iran, and Merci fights against this strict gender binary through her art.
It is important to destigmatize the LGBTQ community for Iranian queer youth and examine the restrictive social norms that they face. Merci's art not only focuses on queer censorship but also opens doors to creating positive conversations surrounding queer topics. Her own journey with her sexuality helps her create rebellious art that is educational for youth. Merci accepted herself as queer in her late twenties. Her late understanding of her sexuality was a result of Iran’s strict religious rules and the strong sense of compulsory heterosexuality that queer people face all over the world. Since only opposite-sex marriage is acceptable, showing queer art is taboo, especially for women, a sex that is not given the same social rights in Iran.
“Stay” (2020) is another one of Merci’s canvas drawings that depicts two drag queens embracing one another. Drag is about fighting your oppressor and being comfortable in your own identity; Merci’s portraits explore these themes of persecution and fight against them. Her art stems from being silenced and living in a situation where you have to hide your true self. Merci fights against the social-political structure, and the traditional, political and religious issues that surround queerness in the Middle East. It is already unsafe for Iranians to be openly queer, and it is even more dangerous to activate towards the LGBTQ community. Merci’s work allows Iranians to understand sexuality and gender expression and be more socially accepting towards individuals with different identities, making safer spaces throughout Middle Eastern society.
