ABSTRACT
Nylon Road engages with the postfeminist body granted coherence by the robed religious other. The Swiss-Iranian Parsua Bashi uses the face as a site of subjectification. Through a large and highly stylized visage of a Muslim woman, Bashi hails the European viewer as part of a global pop audience. The graphic narrative treats the full figure in movement without engaging with “veiling/unveiling” as the central axis of display and identity. Through psychomachia, the figure splits and never fully coheres again. Bashi illustrates the messiness and necessity of coalition through her own changing politics and locations.
