The proposal presents Navid Azimi Sajadi, an Iranian artist whose practice develops at the intersection of material research, spiritual inquiry, and geopolitical urgency. The exhibition focuses on Mater Ex Mater – Act I, in which carpets, ceramics, and paper become elements of a symbolic construction spanning different eras, cultures, and religious systems. Drawing on Gnosticism, dualism, and the cult of Mithras, Sajadi works through a genuine form of symbolic and religious bricolage, bringing together images, archetypes, and forms drawn from both the past and the contemporary world, removed from their original contexts and reactivated through questions of the present. The exhibition space thus takes on the form of a cathedral of contemporaneity, not tied to a single tradition, but constructed through the superimposition of different geographies of the sacred. The result is a practice that seeks to give new form to an increasingly transgeographical sense of spirituality, in which East and West, the ancient and the contemporary, coexist without being reduced to a single sense of belonging. The carpets produced in the Mozafariyeh district of Tabriz under the artist’s supervision, the plates and ceramics made in Tehran, as well as the 100% Iranian cotton paper, directly participate in this construction. The techniques and forms of the Persian tradition are not presented as testimonies of an immobile heritage, but enter a process of transformation in which local references, religious imagery, and influences from other cultures are recomposed into a personal language. The current configuration of the project is nevertheless marked by a real rupture: recent geopolitical events involving Tehran have forced a separation between the artist and part of his production. Mater Ex Mater – Act I presents the works that Sajadi was able to bring out of Iran before the forced interruption of the work. This condition introduces an additional dimension, in which historical contingency directly enters the structure of the project. The booth proposes a unified environment in which the works engage with one another according to a coherent installation logic. Through carpets, ceramics, and paper, Sajadi’s construction takes the form of a symbolic landscape in which the past is not simply cited, but continually reworked in the light of the present. In this sense, the work aligns with the research of the Monologue/Dialogue section, proposing a singular voice that questions the possibility of a new spiritual imaginary beyond the boundaries of individual traditions.