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نقاشی هميشه برایم به صورت چالشی جدی مطرح بوده، چالشي كه از نگاهم عناصر متضاد و ناهمگون جهان را در تقابل قرار مي دهد و با تحلیل همین تضادهاست كه نقاشي مي كنم.
خط پیشینه ايست قابل تکرار كه می تواند نوستالژیک باشد و یا در جهت گسترش و بازسازی سنت در آفرينش رخدادی نو بكار گرفته شود، تلاشی که بر ستون های هنری کهن بنا می شود تا به جستجوی جهانی دیگر منجر شود. خط فارسی علاوه بر دلالت های نوشتاری و معنایی، قابليت ايجاد اشکال بدیعی از ترکیبات فرمی همچون زیبا نویسی، زشت نویسی، به هم ریختن و بازسازی را در خود دارد كه می تواند منجر به ایجاد ساختارهاي بديع گردد وهمچنین، محل طغيان و شورش عليه تحميلاتي شود كه سالهاست نوشتن بر من روا داشته است. از این رو، با استفاده از خط در تركيب نقاشی هایم سعي در گذر از مرز رويا و تجربيات بصري شخصي ام به سمت مواجهه با طبيعت، انسان، تاريخ و نيز خود نقاشي كرده ام.
اين تصاوير چنان مملو از کنش های حسی است که در لایه هایی توضیح آن بیهوده است و چیزی بيش از آنكه كه تصوير شده است، نيست. ارجاعاتی خودشناسانه و اگاهانه كه در شمايل قرینه گون جلوه می کند، به انتزاع نزدیک می شود و ریتیمی موسیقایی پیدا می کند، و در همان نقطه به خط نوشته ها پیوند می خورد و فارغ از معنی لغات ، شکلی آبسترکت پیدا می کند که میانجی ورود عینیت به پلانی است که کمترین فاصله را با مخاطب دارد.
در واقع آخرین لایه از نقاشی جايي ست كه جدال ذهنی ام با واقعیت آغاز می شود و انسان با كنش هاي ازلی و ابدی خویش چون جنگ و تخاصم تا هم نشینی و عشق حضور مي يابد. نمود این اشکال انسانی را گاه از میان نقاشی های ایرانی به عنوان بخشي از حافظه بصري و گاه از زندگی و تخیل خود وام می گیرم و در صددم تا با واكاوي زمان و مکان، آنرا به چالش بکشم. می توان اینگونه گفت كه این مجموعه تلاشی است در جهت واگويي آنچه نمی توان گفت و نوشت و باید جایی در میان رویاها و خیالات و در گوشه ای از زندگی پیدا و تصویرش کرد.
Painting has always been a serious challenge for me; a challenge that originates from my vision in comparing and contrasting the heterogeneous entities of the world. My paintings portray the repercussions of the personal analytic contemplations I attempt to have about these contradictions.
Script is a recurring legacy that could be nostalgic and/or be adopted in order to build upon tradition to create a novel event; a strive that is erected on the age old artistic pillars so that it might lead to explorations into other worlds.
Persian script, apart from its orthographic and semantic significations, enables the artist to create fresh structural compositions and shapes such as calligraphy, ill-writing, scrambling and restructuring which could contribute to unprecedented constructions. I take this realm as a rebellious point of departure from the limitations that writing has imposed on me for years. Hence, by applying script onto my compositions, I have tried to transcend beyond the frontiers of my dreams and visual experiences towards an encounter with the Nature, the human being, history and the painting itself.
These images are replete with sentimental actions in such a way that explaining them would be in vain and they represent nothing more than what has been depicted.
Conscious and introspective references that take form in symmetrical shapes approach abstraction and find musical rhythms, where they merge with the scripts bereft of lexical meanings and facilitate the appearance of objectivity in a frame that has the least distance from the audience.
In fact, the last layer of the work is where my mental struggles with reality begin and human beings with all their primordial actions ranging from war and enmity to companionship and amity step in. Such anthropomorphic representations have been borrowed from among the Iranian paintings as part of my visual memory as well as from my own life and imagination. Delving into time and space, I bid, in this collection, to express what cannot be spoken or written, yet shall be sought for amongst the dreams, imaginations, and in a corner of life.
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
