Sara Rastegarpouyani is an Iranian interdisciplinary artist, Sculptor, and educator. She earned her BFA in Graphic Design, and an MFA in Illustration both from the most prestigious art universities in Iran. She immigrated to the United States in 2015 to pursue her second MFA degree in Studio Art in Glass at the University of Texas at Arlington. She currently teaches as a full-time professor of foundation studies at Savannah College of Art & Design (SCAD). Some of her selected achievements in art and education include being an artist in residence at Vermont Studio Center, WT, in 2019 and at Hybrid Atelier, Computer Science & Engineering Department at the University of Texas at Arlington, TX in 2020. Besides, she collaborated in a research project with Dr. Cesar Torres, the head of the Computer Science & Engineering department at the University of Texas at Arlington. They published and presented their findings at the well-respected Computer Human Interaction (HCI) conference in 2021. She won scholarships from Pilchuck Glass School and her work was published in New Glass Review 39, Corning Museum of Glass, NY as one of the 100 outstanding glass artworks of the year 2017 worldwide. She was the CADD finalist presenter of 2018 and 2019 CADD FUND, Dallas Contemporary Art Dealers in Dallas, TX. In 2018 and 2019 Juried Vignette Art Fair featured her works, where she performed at Texas Women Museum, Dallas, TX. Sara has also performed in Bellwether 2018 at Bellevue Museum of Art, WA. The experience of immigration, immersing in a completely foreign environment and confronting profound changes in her life, directly affected the development and trajectory of her research and artistic approaches. Being exposed to constant changes and uncertainties, which living in this particular time and place has introduced to her life, has created the core concept of her interdisciplinary practices, that is creating text-based installations/performance installations and sculpture. Through her temporary text-based installations, Sara explores the ambiguous semantic spaces that words may induce in contemporary social and political platforms. The idea of temporariness and ephemeral quality is emphasized to explore the contradiction between our expectations and assumption of a statement or concept and what is being performed, perceived, and understood in reality. This is achieved through using temporary materials such as soil, dust, and glass powder to create large-scale floor installations directly on the floor with no binder to hold the materials in place, and then to leave them to be exposed to different natural forces and human interactions in order to allow change, distortion, and ultimately disappearance over time. Her sculptures are also in continuation with her temporary text-based floor installations regarding their core concept. In her sculptures, however, the texts have been pulled out of the main focus and they seem to be subtly embedded into the forms, yet they make deep, meaningful connotations. They straddle the space between representation and abstraction to explore the boundary between herself and her physical and mental capabilities. In fact, they borrow from the natural world to reveal hybridized forms, which are intertwined in such a way that the beginning and the end cannot be easily distinguished. Her creative act to challenge meaning, combined with temporariness, decomposition, and layering, leads us to the very edge of political concerns and issues in the contemporary era, which ultimately leaves many to feel insecure, uncertain, and vulnerable.