“Hawraz” (uphill in Kurdish) which contains the ups and down of human life, is in deep association with mountains here. Humans always live in borders. The definition of “Hawraz” is this, to live in dangers consistently. Their encounter with adversities all the time causes them to see their life in the edge of ruination and ravages
In this collection I have tried to show both critical and magnificent views of humans about mountains. However, the opposition of them creates remarkable ambiguities about both presence and infiltration of the human life and greatness of his outlook about nature. Disruptive forms that don’t resemble mountains any more in the warfare
At last but not least we, the new possessors of nature have changed our biological strategy encounter whit mountains from their essence of sanctity to conquest and vandalism. This is the image of humans that entertain thoughts of ending this gift whit their madness
Heval Qorbani Tajandar, Spring 2017
The current works are the trace of their time and era and this trace is the passing of the past. The trace of the time which is still streaming in front of our eyes. Through the harmony between their concrete and abstract components, these works are referring to their nature and at the same time denying their essence. They are the trace of space in redescribing the space. They seek dynamism in placity, they move and pass. They go far to be loser and when get close they expand further, inside and outside. They wish to find the power and energy lost in
the place and time and to release them
Akbar Mikhak, Isfahan, November 2016
The current collection is an effort to discover the musical structure in drawing. This collection is a remembrance of an eternal memory of coordination and commitment to achieve great pleasure in art, or a constant conflict between order and mystery. Through a foundational game of geometry of designs and lines and synthesizing them with enigma of his mind, the artist opens a new view of beauty to us. This representation emerges mostly on the basis of the Cartesian criteria. These opuses are equivalents of some patterns of the universe and, instead of picturing the arrangement of objects, challenge the truth and order of them. Reducing the tangible appearance to symbols and passing through the signs to an essential understanding demand the ability of technical understanding and the precise knowledge of visual signs and their relationships.
In this passage the artist allows the audience to compose a special prefiguring image and this is rooted in the necessity of the attendance of the audience’s mentality to embody the ultra-occurrence of the real image of the artist’s mind
Grotto collection is twelve frames of Kamali’s works which were photographed and designed by photomontage technique and in the dimensions of 150 * 100 cm. Grottos’ walls, ongoing stream of water, glimmer of light, hidden faces in black veils, redesigned iconic illustrations of mythological matters, same limbs with successive movements, all are elements that unfeignedly, unostentatiously, imaginatively, full of ideas but passionately, multi-layeredly, ambiguously and in a worthy of contemplation manner have been depicted in all photographs in this collection. Changes and differences of wall background motifs (as if walls find platonic interpretation!) from their own original version and the chaos that figures who involved with objects, have created in the foreground frame, present an intertextual perusal.
The relationship of the wooden frame and beyond, the paper that has been painted on it, with painting content- the woods
A collection of intertwined and sometimes scattered trees creates a melancholic look where the disfigured trees back to life as the dead, offer a vague fantasy of living.
A living creature with many images and memories in the heart ... and in this way of thinking about object-subject of the painting requires a visit and see the trees which disobey their conventional forms as plants.
He is looking at a pair of shoes. He is thinking about his painting. He has reviewed it in his mind again and again. What angle to choose for the painting? A little more this side or the other side? Larger or smaller? Ahead or behind? Remove the background or not? Shed the light from which side? A gentle or an oblique angle? Daylight or lights? Strong or weak? What kind of color harmony? Classicist or Modernist coloring? Plain or busy background? Finally, after one or several sessions, the labor is finished and a smile of satisfaction blossoms! But the shoes, right there, all the time, in front of the painter, were looking directly at him. A look that encompasses the other now.
Bitter as Poisonous Flagon
Headless observers of drowned corpses, the impossible figures revolve around themselves or hung in the suspended space from their origins; as if a collective descent happened. Frames that portray the slaughtered corpses. Opposition to gender. Figures without direction and identity and impossible. Subdued figures that sometimes remain the cattle. Showing human perplexity in the universe theater and finally showing violence and famine ... These are some of the elements used by the artist in this collection.
In Behnaz Fatemi's works, apparently passive frozen figures without direction create such a terror in the viewers as if they are aliens on the Earth. Tired figures of their own existence is slowly transforming into self-absorbed and masochist creature with no gender and passive. In fact, the transformation of the human body in this collection defamilliarizes the familiar shapes. The painter even goes beyond and also passes sexual stereotypes of male and female. As Opposition to figures often not because of gender but because the distinction between the greys are recognizable.
Here, a horrific outlook of human future has been pictured. A metaphor for the injustice that mankind could impose on themselves. Prediction of terrible condition that human will be caught in it. Desperately, we go watch the corpses who dizzily integrate to each other. And sometimes fall into thinking that we watch ourselves and because we do not deserve ourselves such a retribution, shamefully and distressfully we sigh and bend our heads.
We live in the age of objects, with their rhythm and based on their successive rise and fall. In this consumer society, there is an object which is better, more expensive and more brilliant than other, this object is named body. Rediscovery of the body after a millennium of piousism, under the guise of physical and sexual freedom, and especially the female body in advertising and fashion, fever of sanitary, food and health, masculinity / femininity, are evidence that body has become the matter of redemption. The body which is repossessed immediately is served the goals of capitalism. Again this possession is not based on independent individual goals, but based on enjoyment and pleasure-seeking efficiency as well as instrumental requirements which have directly been made by the productive and consuming society. This rediscovery of the body, first, passes through the objects, and it seems the only stimulus that has been released is the incentive to buy. The body provides the possibility of selling and leads the historical process of "free body". The body should be free to rationally be exploited for the production purposes.
One must be able to re-discover their body and slog until the power of desire could become the object demand. One must assume themselves an object. The most beautiful objects and the most valuable material for exchange until it could be deconstructed into the body frame, will establish itself as a profitable economic process.
Perhaps in Iraj Delavari’s recent collection, the paradox between figures and the presentation of parts juxtaposition and decorative motifs is the main component of the work. It seems these motifs which have surrounded the figures in a mosaic arrangement, Originated from the Confluence of available visual traditions and a multi cultural eclectic that have roots in Art Nouveau Movement and Orient lists’ works, meanwhile, they narrate artists’ obsession with Iranian designs. On the other hand, paying attention to patterns and designs shows that the artist represents a different function.
Available motifs which have professionally been performed with colorful display and full of Dynamism could be considered as an anti-narrative change that obtained a satiric aspect in the context. This feature occurs more when comic forms in motifs offer an ironic perception through face expressions, gestures and Personages’ behaviors. Although, the artist has chosen the characters from his intimate surroundings, they were shaped artificially. These paradoxes revolve like a circle in all works and endless contrasts are continually reproduced
Pink ... Great...
Feminine and desirable monster
With a body full of waves… with a velvet soft tail and tranquil amber, she is flaunting
Serendipity is so great that you will not be able to see all of her figure once. When you are close her, you will feel her pink and thundering motherly softness with all your heart
And while she passes behind you, your gaunt body shakes… shivers and drawn yourself to her velvet figure
World In Exile
I stare at the world of still objects and roam in the land of light and color and shadow, such a vast and boundless range, the more I pass the more I find, a wordless extent that loses me in myself and surrounds all of my illusions, shocks and hidden fears , they are all scary bogies of my childhood, those delusive emptiness of loneliness in those algebraic horrifying years of youth - which obligatorily passed by relief and deference and acquiesce - suddenly were revealed in awe of upside down statues and photos of nothingness of my those years and this intersection of inside and outside became the beginning of the game war. Again through pending walls and collapsed fences my eyes stared at breathless bodies and became a photo and fell on dark dust.
I went to the cubical paths, in the search of my Kaaba among the deceitful Kaabas that had been shown us in those years, I entered to a slow and silent land without geography that its architect was me where no one entered before I but out of its monotonous order I became sleepwalking and again became a photo of mine and my world, till belongs to the eyes that have realized my eye-hint at the self discovered world of mine, so to be the only observer of my narration from this world of exile and not to be suspended and banished though the other kinds of objective reality but far from the city notes that we have lived by, not the implicit subordinates from the top.
Tree is prefect and we can never fuss it in terms of it's morphology. It is the best city content which has no backside, front side, side and direction... tree is correct from all angels. Tree is alive until it has roots in the soil and even if it's trunk be cut off it will again burgeon and continue it's life. Tree as the strong and firm mother of nature has destroyed the structures the demonstrates the dominance of nature on human in a poetic way. It is the symbol of a society, every branch is a huuman and tree is a series of branches. By cutting of a branch wil injured, but this is the branch which dies just like a human that has rejected from society, unless the branch planted in a more appropriate place then it will become a robust and sturdy tree.
Esfahan the most beautiful metropolin city in Iran has been the most well known city because of its artists and art lovers in Persia land for five centuries, and now that we are passing by the last years of fourteenth century in Persian calendar;can see that Esfahanian artists have desire for other places because there’s not any financial and value supports.
“MatnEmrooz” gallery which has been the looker on these changes and their effects on Esfahan’s art and culture figure from close;by supporting artists and art lovers,decides to do some great constant upheaval in this field.
The present exhibition which has held by very strong artists and collectionneurs,is a deserving step in this hard path.
By this exhibition and its consequences, “MatnEmrooz” gallery gives you a bright horizon and a brilliant future to you artists of this beautiful metropolitan city; and also wants from other interested people to be in this event in order to make Esfahan today of art and culture toghether.
Still life genre specifically refers to the issuses of “inanimate” and reatively small everyday issues that can ba addressed nature, such as plants and flowers, rocks, food or dead animals or human-made objects,like bottles,furniture,books and etc. the genre of still life was highly regarded by the painters of the last centry,insofar as the level of portrate was considered. With great efforts of modern artists in painting,photography and even in cinema, we can understand the features and capablilities of the genre even after several centuries,making the man of this age forget the fear of vast and evolved universe by connecting to small and inanimate objects.
You conceal your face with the cover of hand.when they are lowered,your hand are infused with vision;you see through your hands,through your soul.with these hands you initiate your skin is infused with colors,your body with magnitude.colors on the paiting,are reflection of your own eyes.you paint as your face grows pale.
Now, faceless,the same as the saints.coverless,is the face of your soul.your face is here,standing against mine…
Let’s Do Scattering Flower
To enjoy Homayoun Salimi’s works of art, there is no need to understand the sophisticated aesthetics. He could manage his works with the benefit of high technical ability and associate them with a subtle poetic sense of beauty, wich is directly related to our emotions. The structures of his paintings which are inspired by modern art, especially abstract art are combined by the Iranian visual elements in a way that could catch anyone ‘s eyes. Through considering the cultural roots and free application of them, this combination as one of the best examples of modern art language and based on a modern structure, create a familiar picture for Iranian viewers.
The common languge in Salami’s works will not be limited to the colors and patterns. Music plays an important role in this language. He supposes colors as musical notes and like an orchestra conductor harmonizes the instruments and patterns and lets colors visually improvise and pleaseviewer’s eyes.