‘homemade satellite dishes’ series
In this post, Elham Fatapour, winner of the SSN Arts Prize in 2022, reflects on her piece ‘Surveillance and Self-Censorship:Homemade Satellite Dishes Series’, which appeared in the 21(4) issue of Surveillance & Society.
My artistic practice encompasses painting, video art, and mixed media installation, exploring a variety of related subjects such as vernacular architecture, satellite usage, modes of communication, and empathy. In my recent paper in Surveillance & Society, I explore the societal implications of satellite dishes, shedding light on why individuals might hesitate to fully express themselves. Drawing inspiration from Michel Foucault’s interpretation of Jeremy Bentham’s panopticon, I delve deeper into themes of surveillance and self-censorship, aiming to spark conversations about navigating the complexities of modern life and the impact of surveillance culture on identity and autonomy.
Satellite dishes stand as silent sentinels atop rooftops (mostly!), linking us to the wider world. They are ubiquitous, serving various but interconnected purposes, and have seamlessly integrated into the urban landscape.
In my childhood, exploring our rooftop where one, and later two, of these dishes were installed, was a source of fascination. I learned early on to handle them with care, recognizing their importance in providing access to a multitude of channels, including uncensored cartoons for me, but more importantly, news — a vital lifeline in our ever-connected world. This is how they became a symbol of bypassing censorship for me. When they are forbidden, they need to be hidden to avoid detection; literally camouflaged, such an important strategy borrowed from nature.
These unassuming fixtures play a crucial role in telecommunications, media, and surveillance, quietly facilitating communication and information exchange. Depending on their placement, they can lend an aura of significance to a building, hinting at its connection to governmental, media, or military activities. Conversely, standing beneath them can evoke a sense of unease, as if one is constantly under observation.
Intrigued by the narratives surrounding these objects, I found inspiration for creating my ongoing series of ‘homemade satellite dishes’, utilizing real dishes. Through my artwork, I aim to capture their essence and explore themes of surveillance and self-censorship in both public and private spheres. By painting them to seamlessly blend into their surroundings, I provoke reflection on how we conceal parts of ourselves to evade scrutiny. This concept extends beyond social media and politics, permeating our everyday lives and shaping our interactions with the world around us.
