In this research, the artworks made by an Iranian woman artist, Monir Shahroudy Farmanfarmanian, who works in the field of contemporary art, with mirrors were taken into consideration. The relationships between the mirror, which is the main material used in these artworks, and the individual and geometric forms it creates are examined. The artist combines a memory that belongs to her with the mirror, which is a ready-made object, and carries that mirror to the field of art, allowing readings about both her own memory and social memory. While the artist questions her own culture, she also reveals how a blended geographic culture can transform an individual's memory into a social memory. The material chosen by the artist has the feature of being reproduced and transformed; together with its geometric form, it turns into many abstract new meanings by fusing with traditional culture. Thus, the traces of individual and social memory will be tried to be traced by starting from the mirror decorations in the interior that has turned into an art object. Monir has become an artistic form in which she uses the mirror to express her own interiority. After the 1979 Islamic revolution, traditional and modern Iranian mirror art were merged. In this article, the concept of mirror in plastic arts, where compared in different and similar points. The works of Monir Shahroudy Farmanfarmanian, one of the leading female artists of the transition period from the Shah period to the Islamic revolution, reflecting modern art opportunities and traditional elements attract attention. In the literature, it has been observed that there are a limited number of studies for women artists who create an original art language by feeding on traditional sources; With this article, it is aimed to contribute to the literature.
Keywords: Mirror, mirror art, Iranian mirror art, Contemporary Iranian Art, Monir Shahroudy Farmanfarmanian