Mina Moshajjari (born 1998, Kashan) is an Iranian artist who received her BFA in Painting from the University of Art in Tehran and is currently pursuing her MFA at the University of Ottawa in Canada. Her practice is centered on the notion of landscape and the complex relationship between humans and the earth—a relationship that, for her, is not merely a visual concern but a conceptual and experiential foundation. The origin of this inquiry can be traced back to her early encounters with the landscapes between Kashan and Tehran, where her perception of the environment was shaped through the car window, always mediated, always at a distance. This distance later became a conceptual component in her work. The linguistic contrast between the English word “landscape”—referring to the land itself—and the Persian word “manzareh,” rooted in the act of “seeing,” signals for her a fundamental separation between humans and what they observe. Moshajjari’s process begins with research, collecting information, and navigating through images. By drawing on photographs, charts, and geological diagrams, she constructs a visual language in which transparent and semi-transparent geometric layers play a crucial role. These layers reveal the traces beneath them, allowing looking, reading, and analyzing the landscape to occur simultaneously. For her, the formation of each work—and its link to earlier works—is vital. Each series emerges from a back-and-forth dialogue with previous bodies of work, maintaining continuity while preserving its own independence. In the series “Intervention,” she extends this trajectory into new terrain. Here, the concept of landscape is directed toward places that humans rarely have direct access to, yet where human activity inevitably exerts an impact. She introduces geometric forms into relatively untouched environments, leaving behind traces of human presence where none actually exists—visualizing the indirect interventions that shape the planet. In these works, ice transforms, reflections of glaciers shift, and geometric cavities appear within natural formations. Without ever having encountered glaciers firsthand, Mojadjeri reconstructs them through images, rendering unfamiliar terrains through a familiar visual language. Her use of warm tones to depict these cold environments signals this mediated perception—a filter that shapes not only her experience but our broader understanding of ecological realities. Landscapes that should evoke a sense of threat in an ecological context are rendered with clinical calmness and controlled palettes, as though the image has passed through a softening screen. Together, Moshajjari’s works occupy a space between observation, data, memory, and representation. She approaches landscape not as a natural scene but as a complex relationship between human, earth, and perception—a relationship perpetually shaped by distance, filters, and mediation.