According to the report of public relations and international affairs of Tehran Beautification Organization, Azar Sheikh Bahaodinzadeh emphasized on this fact that she has maintained feminity in her artworks, and she said: In 8 years of war, the women played an important role of waiting and resistance; a waiting which sometimes was for nothing as none of their dear ones did not return from the war. In my opinion, this type of waiting is not remembered well after war, and that is why I have decided to show this matter in my artwork.
According to her, “Maman Mihan” (Mihan Mama) demonstrates both the love for country and the women at the time of war. She said: I have tried to refrain from the clichés and demonstrate the women’s suffrage, difficulty, and sorrow alongside their power and resistance against war. They stood strongly and their role in the present peace in our country has not been remembered well.
Sheikh Bahaodinzadeh said: Everyday, we see a lot of martyrs’ busts in the city, while the martyrs’ mothers, sisters, and daughters are hardly ever remembered and mentioned as they had an important role in the victory of the war.
She said about her artwork, ‘Maman Mihan’, which is placed across from the tomb of the anonymous martyrs in Polis Park at the end of Sheikh Zein al-Din Highway: This artwork is bigger than its actual size. The table, with helmets on it, is 6 meters long and 1.70 centimeters high, and it is made of bronze and concrete.
According to this artist, on the day they were installing the artwork, they received positive reactions from the mothers and the women who have come to pay tribute to martyrs’ tomb.
It should be mentioned that the installation of the volumetric artwork of ‘Maman Mihan’ in Polis Park across from martyrs’ tomb was done with the aim of improving the urban space.