This House is Not Black

The veins of land are dry in this district. Its inhabitants, who used to make a living through plant growth and farming, are suffering hardship and make a living through burning wood to make charcoal.

Five meter-deep pits are filled with water and fire. Wood burns and turns into charcoal in these pits.

The coal furnaces are the black signs of the age. A well that is defined through being black, and the workers of the furnaces go deep into them to, as they themselves say, to provide a living. This black furnace is the other house of these workers, which is neither white nor black for them in reality since their living is made through these furnaces.

“This House is Not Black” is the title of a set of images that were created to depict the fact that the workers in coal furnaces, who are involved with the black sign of the age, make a living through wood, fire, and smoke.

Sara Lal Kamalian

Sara Kal Kalamian was born in November 1994 in Neyshabur, Iran, a city renowned for its profound contributions to Iranian art and culture. Sara initially pursued an undergraduate degree in Midwifery, and it wasn’t until 2014 when she joined the Young Cinema Society of Neyshabur that her passion for photography emerged.

In August 2017, she transitioned towards a more professional engagement with photography, further immersing herself in the activities of the Young Cinema Society and earning a certificate in cinematography. Shortly thereafter, Sara began her career as a photojournalist for Khayam Nameh newspaper and later with the ISNA news agency, which enriched her understanding of visual storytelling.

Sara’s first public exhibition occurred at the Khansar Photography Festival, which showcased her work and offered the opportunity to visit Isfahan, a pivotal moment in her professional development. In 2019, Sara curated her first solo exhibition, The House is Not Black, a project documenting the arduous lives of laborers in coal kilns.

Between 2020 and 2023, Sara expanded her contributions to the field of photography by joining the Iranian Photographers Association and the Iranian Art Credit Fund. During this time, she also began teaching photography, initially through private instruction and later at the university level after completing her master’s degree in photography. Sara’s academic and professional engagement with photography culminated in honorary membership in one of Iran’s contemporary visual arts associations.

As a scholar and practitioner, Sara remains dedicated to exploring the intersections of photography and contemporary issues, striving to challenge conventional narratives and uncover new perspectives. Through this medium, she seeks not only to document the world around her but also to cultivate a deeper understanding of her own artistic identity.