In her solo exhibition  “​DEMOLISHING BUILDINGS BUYING WASTE” Ansarinia highlights her interest in Tehran’s changing architectural landscape and its relationship to collective consciousness (Aerts, 2018). In the exhibition she highlights the destruction that comes with constructions and how “for each new building built an equal amount of material must be shoved aside” (Aerts, 2018). In her installation called ‘The Mechanisms of Growth,’ she puts order into the chaos of this “shoved aside” material. Creating a cityscape from cast representations of the rubble from the demolitions ravaging Tehran. To me, it subverts the common architectural building model and highlights the destruction and volatility of the process. There is a repetition in forms suggesting a uniformity and use to the fragments of memory. Reappropriating the discarded debris into a repeatable construction unit and once again validating its existence. I would like to achieve the same in my work. Pulling from fragments of memory and reconstructing them. By creating monuments to my memories I hope to make sense of what I have lost.

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In this same exhibition Ansarinia documents the demolition of a livable home to rubble in 16 days through two short films titled ‘Fragment 1’ and ‘Fragment 2’. Scenes of what once was a kitchen space are shown through the remnants of a tiled wall. It evoked memories of my grandmother's kitchen and I began to imagine the process that took place in it’s own demolition… How her flowery tiles would have laid bare for passers-by on the street to voyeuristically look at. The years I spent in that kitchen now on display for anybody to glance into or ignore. In Iran the indoor space represents a freedom akin to that of the outside in most western countries. To have the safety of those walls beaten and destroyed. For the dust of the tiles to land on the windows of cars and the neighbouring

houses makes my heart shudder. To imagine her pink

wallpapered bedroom exposed and stained by the

exhaust fumes of the passing cars. Her green carpets

trodden on with dusty shoes. Her chandelier smashed

with a sledge hammer, as flying shards refract the light

leaking in from the void that once held the wall that

housed a picture of my grandfather with Mosadegh

resting on his shoulder. It hurts and it's painful

but as much as we are the victims we are also the

culprits. This duality that Ansarinia mentions in the

new and old material is present in the forces that allow for this process to happen. Every house that has been destroyed that I grew up in wasn't taken by force; it was given willingly in exchange for compensation.