Haideh Darroudi's photographs evoke a sense of tranquility and introspection, often prompting the viewer to ponder the bond between the Iranian landscape and its inhabitants. At the heart of this contemplation lies the female voice, an enigma yet deeply rooted in the fabric of Iranian culture.

In her work, 'Photographs Not Taken,' Haideh poses as the daughter of a landscape photographer, imagining a parallel universe where women are the primary storytellers of Iranian history. Her photographs challenge conventional portrayals of the Iranian landscape, subverting traditional tropes of landscape photography and inviting the viewer to see the world through the eyes of a woman.

The Iranian landscape, characterized by its majestic mountains, sprawling deserts, and lush gardens, serves as a poignant backdrop for Haideh's exploration of the female voice. Her photographs of women engaging with the land, whether in moments of solitude or social interaction, underscore the intricate web of relationships between the natural world and human experience.

Haideh's lens captures the intricate dance between the masculine and feminine, the public and private realms, and the static and kinetic. Her photographs of crumpled fabrics, torn pages, and scattered objects transform the mundane into the sublime, highlighting the quiet agency of women in shaping the Iranian landscape.

At the same time, Haideh's photographs also underscore the invisible narratives that underpin Iranian history, exposing the disconnection between official accounts and the lived experiences of women. Her photographs subvert the gaze of the male photographer, bringing to light the unseen voices that have long been marginalized.

Haideh's photographs 'What Photography and I Say to Each Other,' further nuance this vision. The photographs taken of 'untold' stories and scenes when she questions photography's authority show how traditionally Iranian landscape and آهنگ های هایده spaces assume a dual existence: that of the 'real' and the image – as if their relationship is that of a ghostly symbiosis.

Haideh's voice, therefore, emerges as a key to deciphering the Iranian landscape, not merely as a reflection of its terrain but as a testament to the women who inhabit it. Her photographs underscore the fragile thread that binds us to our environments, suggesting that the natural world is imbued with the memories and stories that we tell.

In the end, Haideh's photographs, like the whispers of a gentle breeze, remind us that the female voice is not an elusive entity, but a fundamental aspect of the Iranian landscape.