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Iranian narratives of contemporary explanatory western art

  • Iranian narratives of contemporary explanatory western art

 

Cheetart News reported that, in the previous week, Iranshahr Gallery (in tehran) was the host of Mohsen Jamali Nik's artworks. This painter pays so much attention to social matters in his art. He had hold various exhibitions in Iran and even outside the boundaries of Iran. He was born in 1358 and has university education in art. He, like all the other contemporary Iranian painters, understands the art of 80s a.c. very well and focuses his critical point of view directly towards the Iranian concepts and contention with the modern trend.

The main characteristic of his paintings is the integration of macro themes with the Iranian narratives of contemporary explanatory western art. In his previous exhibitions such as Fakhrabad, Millennium disaster, Noosh Afarin, and the lion's tail, he used the critical and contradictory tone towards the ones who used the custom of sardonic manner against the Iranian painters. In his Iranshahr gallery's log, we can observe the relationship between nature and human without having any naturalism or expressive areas.

The displayed artworks in this exhibition consist of 12 drawings which varied in size, from 4 to 2 m. to 50 to 70 cm. with the acrylic techniques on canvas. The gallery's vast space and its high ceiling provided an spectacular exhibition in which the artist made the best use of it.

Jamali Nik appraised the drawings of water lily's Lake which had been drawn by Claude Monet, The founder of Impressionism style. This way, he could show the strength of his understanding and his particular technique. Shades of colors along with rough and strong texture display the blossoms, flowers, and trees. In the biggest drawing, all the audience can see the vast blue of background with the curvature of tree and pink blossoms in the intended scenery of the painter. As it is said in the statement, the nature is free of human, and facing destruction slowly, as if it is not the source of inspiration for the artists any more; looking through the understanding and intuition. And the beauty of this world is circling around the human only.

In his turning, Jamali Nik, focuses his critical point of view on the theme of artworks, then he releases the structure from the symbolic gestures. The kind of themes that we could see in his previous works as well;  pallid and empty mirrors, tense lovers, and the spots from destruction. The spectator of this collection is the witness of such beautiful scene that the painter named it as " The blossoms". Using different angles with a rough texture and plane background hides the anger of painter from today's living.

In the other paintings with vertical cadre, there is a tree at the heavy bottom side of the drawing. It's as if this tree is the reflection of his true self. The arrogant essence of colors and the high negative pressure of the cadre, makes one double-edged blade to catch the alert audience. On one hand the beauty of nature in drawings attacks the common naive audience. On the other hand, texture, combinations, and drawing's harmony make another point of view. Dealing with his artistic identity, we have to admit that he is actually spreading the culture that publicly is preferable and in all his drawings, regret and Asian loneliness are becoming the hidden audacity and objection. As much as he is expressive, he has shown the rough and harsh abstraction. Also, in all levels of his artworks, he is combining different styles and cultures from different times. He has made scene devoid of human; the scene that accepted the beauty in every turn.

 

 

 

 

 

 

 

 

 

 

 

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