Bringing ‘Pateh’ to the world: Sara Qashghai’s artistic reinterpretation of Iranian needlework

‘I believe an artist cannot be untouched by social transformations’

Originally published on Global Voices

Sara Qashghai’s work with Pateh, a traditional Iranian needlework art, offers a fresh and contemporary interpretation of a centuries-old craft. Pateh, distinct to the city of Kerman in southeastern Iran, is a form of embroidery where wool, silk, and sometimes gold threads stitch intricate designs, often of flowers, birds, and vibrant patterns. 

Yet, through her mastery of seven distinct sewing techniques, Qashghai transcends traditional motifs, weaving not just images but complex narratives that convey emotions and stories with remarkable depth. By pushing the boundaries of this ancient art form, Sara elevates Pateh into a medium for sophisticated storytelling, communicating her feelings, reflections, and powerful social messages in a way that feels both intimate and universally resonant.

This art dates back centuries and has roots in the Persian Safavid era, with the earliest known examples from 1868. It has long been a way for the people of Kerman to bring the colors of nature into their homes, compensating for the lack of greenery in the arid desert landscape.

Despite its rich history, Pateh has declined in recent years due to economic challenges. Qashghai’s work marks a powerful return to the art’s original depth and complexity. She carefully selects materials and uses seven distinct stitching techniques, some of which have been overshadowed in the industry. As she says, “I use the threads to speak in a way that aligns with the theme. Each stitching technique and color carries its own meaning.”

Qashghai’s journey into Pateh began after studying historical preservation and fine arts. She completed her bachelor’s in historic preservation and pursued her higher education in painting. Qashghai worked as a restorer of antique wooden objects for over a decade, but eight years ago, she shifted her focus to Pateh. Her work gained recognition when the Aran Gallery in Tehran began showcasing her pieces. Since then, she has exhibited widely, including in prestigious Los Angeles and San Diego galleries. Her work is featured at the Advocartsy Gallery in Los Angeles and the Mingei Museum in San Diego. Her exhibitions abroad highlight her commitment to elevating Pateh on the global art stage while staying true to its cultural roots.

Through her collaboration with local artisans, Qashghai expresses her emotions and social concerns through thread, combining personal narratives with traditional techniques. She reflects on how her work brings Pateh back into the global art scene.

In an interview with Global Voices, Qashghai discusses her unique artistic journey, which blends creativity with cultural preservation.

Excerpts from the interview follow:

Omid Memarian (OM): Pateh, an Iranian traditional needlework folk art, is an ancient craft, yet it is often viewed as a handicraft. What transforms it into an art form? Is it the creativity in themes, stitching, or something else?

Sara Qashghai (SQ): My works evolved from handicrafts to art through my unique approach to technique based on two main factors. First, while this craft once earned recognition in global museums, rising material costs and mass production led to diminished quality with repetitive designs. I focus on using high-quality materials and creative techniques. Second, Iranian women, particularly nomadic ones, have historically used wool to create beauty in everyday life — through carpets, kilims, Gabbeh and Pateh.

Through the help of my artisans, I express emotions, thoughts, hopes, and dreams using thread. The threads reflect the mood of the piece — soft and close together to convey calm or spread apart, rough and expressive to show anger or frustration. Each stitch and color choice has its own meaning. In the past, I directed all stitching techniques, but now, the emotions of my artisans — who have experienced violence and injustice — naturally influence the work, creating a powerful collaboration.

For example, in my piece on Mahsa Amini, the harsh stitches and colors conveyed a deep sense of bitterness and violence. The threads, sometimes harsh like a noose or delicate like flower petals, help me tell my story. Technique and theme are equally important. In “Niloofar in the Swamp,” I portray the Iranian woman as a resilient water lily growing in harsh conditions. The threads can symbolize different elements —war, peace, or even angels — ultimately conveying my hope for peace and victory.

OM: How do you choose the themes for your work, and how much are they influenced by the social changes you experience in your environment?

SQ: I don’t consciously choose the themes; I am deeply influenced by events, memories, and experiences around me, as well as how society and people respond to these changes. I believe an artist cannot be untouched by social transformations. Therefore, the themes of my work are inspired by my feelings and the events around me.

OM: How does collaboration with local artists and showcasing your work globally impact the revival of these arts?

SQ: Unfortunately, due to economic challenges and high production costs, Kerman Pateh and materials are experiencing a noticeable decline, leading artisans to replicate previous designs. When artists like myself enter the scene, focusing on material selection, injecting financial support, and applying creativity, they significantly revitalize the themes and techniques, contributing to the resurgence of this art form.

OM: Can you describe how an idea evolves from concept to completion? For example, do you sketch first, then choose colors, or is it more spontaneous?

SQ: My process typically begins with an idea reflecting my concerns and the issues facing my community at that time. I collaborate with local artisans, making it a collective, feminine effort. Initially, I would paint the design on paper and transfer it to fabric. Now, I draw directly on the fabric, sometimes sketching multiple ideas and combining them spontaneously. Half of the design is improvised for some works, and I always create color sketches to guide my thread selections before adding intuitive stitches.

OM: What is the perception of your work in Iran, and are there other artists using similar techniques for their artistic expression? How does it differ from your experience abroad?

Sara: I can confidently say that no one in Iran has woven their imagination with Kerman Pateh as I have. In Kerman, this technique is typically viewed as a handicraft with designs that have undergone minimal changes for nearly a century. I have not seen anyone else use this technique since my work. However, I have encountered some pieces in museums near San Diego that employed sewing similar to mine. Still, they did not match the diversity of Kerman Pateh, which features seven distinct and fascinating stitching techniques — something even specialists in American museums have noted.

OM: To what extent can you freely express your ideas and balance between conveying a message and artistic expression, ensuring your work doesn’t become merely propagandistic?

SQ: When I create and begin sketching, I become so immersed in the narrative that I simply draw whatever comes to my mind and heart, influenced by my emotions and experiences. I do not think about it becoming propagandistic; if it happens, it’s entirely unintentional. I believe that even if it were to occur, there would be an authenticity that transcends mere slogans.

OM: Who are some artists within and outside Iran that inspire your work?

SQ: In some pieces, I have been heavily influenced by poets and artists from Iran, particularly the themes in the works of classical Iranian poets. For instance, images from “Shahnameh” by Ferdowsi, “The Conference of the Birds” by Attar, and “Kelileh o Demneh” have had a profound impact on me. Regarding Western artists, I draw inspiration from Cézanne, Matisse, and Degas, whose works I adore. Of course, there are many others, as I love exploring galleries and museums and have a strong visual memory.

Written by Omid Memarian