Shireen Alihaji is the granddaughter of Sedigheh, Assadollah, Georgina and Humberto. 

​B. 1987 Los Angeles, in the occupied land still inhabited and cared for by the Tongva,
Tataviam, Serrano, Kizh, and Chumash Peoples.

She is a First Gen, Iranian-Ecuadorian, Muslim and Disabled artist, programmer and educator. Her intersections inspire her to create space through the intersection of art and technology. Given how we remember is pivotal to healing, her work uses memory as a central gaze to uncensor the imagination and mirror our infinite reflections.

“Our histories have been systemically displaced and is from this dissonance, which I deconstruct diasporic realities across medium. Placemaking drives my work as I redefine constitutions of home, utilizing memory as source-material. When we use memory as source material we understand history as a malleable concept, we can participate in reshaping,” says Shireen.

With over a decade supporting labor unions and non-profits with media justice and narrative change, she has developed a social arts practice across all her projects. She Co-presented Flipping the Gaze: Restorative Filmmaking Techniques, Memory As Technology (William and Louise Greaves Seminar) and has been published in Blue Print for Muslim Inclusion (Pillars, USC Annenberg Inclusion Initiate, Left Handed Films). She has served as a restorative arts educator (Vigilant Love, Femme Frontera, Las Fotos Project, CRSELA) and served as Artist Support for the Islamic Scholarship Fund where she co-created Muslim Centered programming; an evolving framework that supports Muslim storytellers restore, center and define their narratives.

​As a student of the Arts & Healing Initiative, she prototyped a creative lab for caregivers and self-published an anthology titled Recipes for Care. Today, she is a Brooklyn Poets fellow, in development with several literary projects and is a student of the Institute for Art and Olfaction.

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