In the body of the flesh
July 26, 2019 to July 26, 2019
This series is a continuum of my studies in representing the human: the body, as a part of its vast context and its life experiences.
Each painting has formed with a narrative of a drawing, a piece of writing, a photo or video and it later ended with an image of the connection of the body with itself, with the other, with things and the environment.
The expanding lines of figures in the form of abstraction and the narrative of the body parts, is the main reason for creating this collection.
The Soul of Stone
June 14, 2019 to June 24, 2019
that I do not know...
The stone is grown from the crumbled walls; it hears and it comes to existence, it patients, it hands a plant to root, and it is not the hurdle anymore, but rather a path to live in...
IDENTITY OF THE FORMS
April 12, 2019 to April 22, 2019
February 15, 2019 to February 15, 2019
Such as justice, the sun seems to be setting at such dark hour I am living in. The indecisive human in the dark, seeks for light. Though terrified by the warmth of the fire he/she have lit, they rise up to search for a shadow. One hides his/her little knowledge behind the many words and to cover his/her ignorance, he/she keeps dreaming and having fantasies and alters the definition of what he/she does not know and still, keeps thinking of evolution on the way.
Is the endless confusion in such rebellion resulting from wisdom?
The Story of Shirin
November 16, 2018 to November 26, 2018
Iradj Eskandari is an artist who turned to social and figurative painting while he was greatly influenced by masters such as Bahman Boroujeni during the revolution. His mural paintings resembled themes of Iran-Iraq war and revolution which are still remembered by many of us. By concentrating on the history of modernist painting, during 90s, he experienced abstract painting. Because he was keen on the ancient history of Iran, thru studying ancient motifs and themes, he began to create symbolic works in the next decades.
The Story of Shirin, is formed in accordance with his approach in combining and merging principles of modern art with Iran’s symbolic motifs which includes a meaningful paradox between visual narrative and the applied materials and techniques; stylization of famous Persian literature in forms and geometrical compositions along with absolute modernist mono-color with rough materials and a complex technique seems to be an amazing tale that refers to the story of Khosrow and Shirin or Shirin and Farhad. Nonetheless, it represents other implicit indication as well; a sweet story of a lifetime painting to conflicts between the delicacy and roughness of life.
It is the viewpoint of a subject which creates a narrative by creating casual connections between events. The artist’s point of view is not subjective; nor does he tend to create a narration for the audience by perusing relationships and semantic casual connections between the figures and the scenes. He does not put the question here, he is wondering along with us, staring at the shattered scenes and seeking the lost narratives.