C o n t e m p o r a r y A r t R e v i e w

My work is composed of exuberantly whimsical abstractions , where color and organic forms prevail . Using every-day observances and experiences as an influence , layers of paint construct layers of meaning . By considering personal moments and interactions of the universal human experience , the spectator is drawn into a fictitious and heartwarming universe that emerges bit by bit . Works appear as dreamlike images in which past and present merge ; nostalgia , sentiment and romanticism often play a role as a means of adding poetic value to everyday life . As an artist , I enjoy the exchange between the artwork and the viewer , and I encourage the viewer to make his or her own connections to the work . As such : my works do not reference an identifiable form- thereby allowing the imagery to facilitate fluidity in meaning and multifaceted interpretations based on the life experiences of the viewer . Aesthetically , I am influenced by a broad range of styles : the line work of the Ancient Mayans , the bright colors and compositions of Pop Art , the fantasy of Surrealism and our Postmodern visual culture .

My art reflects the complex and many-faceted aesthetic pleasures that the tradition of painting offers me . My recent work , which has many faces — both literally and metaphorically — is a hybrid of traditional and contemporary values and concerns . The process of painting challenges me to seek , identify and bring forthsomething special . Each finished painting is a unique statement and has a “ voice ” of its own . The varied portraits and figures that I include are broughtinto my own kind of painted language , layered with conceptual and perceptualrevelations . I use traditional and reliable materials : mostly oil paint on canvas or panel . Myworking methods are also consistent and I begin each work by working fromlife , photos and / or found images . The variety of my finished paintings reflectsmy exploratory processes and the many varied and searching interactions Ihave with each work in progress . It is an evolutionary process without a pre-determined outcome . I have a general idea of what I want to accomplish ; the canvas has its ownidea of what it wants to be ; and at some point we come to a mutualagreement . My individual works morph into sequences and series , oftengenerating a variety of sizes and iterations . In turn , each new series takes meinto new territory , leading me — both intuitively and intellectually — towards mynext body of work .

In a way , the agri-food industry has become a new godfrom which citizens must proclaim their autonomy . Eating is thus a deliberate act . It is no longer a mere reflex linked to bodily survival , but an action prompted by more or less conscious emotional , economic and political choices . While tastes may not be open to discussion , they entail consumer decisions that have repercussions on our environment . The provenance of foodstuffs and their methods of production ( intensive or organic ) and management ( exploitation or fair trade ) are political and nutritional options by which people manifest their social commitment and express their individuality . On the art scene , food is a subject / object that has fascinated and “ nourished ” numerous performers . In many cases , their work goes far beyond the simple aesthetic event to address the eating behaviours of our society . Obviously , not all artists who use edibles as materialare political or environmental activists , but most have eating related experience or habits or attitudes that influence their every action . Food aversions , allergies , diets , special treats and childhood memories thus become food for thought in developing their art practices .

Creating a futuristic style that taps into Jung ’ s “ unconscious collective ”, my paintings follow the instructions of an anti-dualist agenda . It is a way of experiencing other worlds without actually having to reveal the source of such an experience . Consciously , that which belongs to the unconscious of the other becomes real . Organic structures give rise to the thoughts represented by objects abducted and recompiled . Even though their composition is unknown to ordinary experience and normative folk psychology , they emerge from what appears as abstraction , but is the rational intuition of their instruction . While influenced by natural forms and science fiction , their aim is to challenge the mythology of scientific thinking . That is , there is no “ picture thinking ” supporting some mythological idea of creation , as with the holographic principle . No origin depending on dark matter or the accretion disks of black holes emanating from a fear of sound reason , for if experimental evidence justified theoretical reasoning , it would depend on particular contingencies . What is presented is therefore neither absurd nor surreal , but rather a way of breaching the abstract and entering a manifold of actual possibilities . These are ones where there is no severance or duality between what is being judged and the understanding that presupposes its judgments are rational . Beyond the real , Antony Gormley ’ s Mist Box opened up unconscious worlds for me ; the 2D doesn ’ t encode the 3D , as with the Holographic principle , but really presents us with an image projected from the “ unconscious collective ”.

Although I like the modern style very much but still try not to deviate very much from my Persian root and culture , therefore I have started combining the elements which can show both and also added some of my imaginations to show a perspective of present , past and maybe future . In all of my works there is an image of a lady who is living in the present world but also have roots in the ancient culture . I don ’ t like to show everything very clear and complete in my works and prefer to engage my audience using their own cognition and mind processing the idea of each painting . Every painting is the result of my own thinking and imagination and no one else . I pay a careful attention to every elements on the canvas same as the lady figure and spend time on every each of the elements without any preferences . Sometimes an idea comes to my mind spontaneously . I get involved in that idea and try to develop technic and vision together . I try to develop my ideas by putting a woman in the paintings and showing the changes that time would or will expose on her .

I utilize material and sensory experience as a means to explore meaning . Material is worked until there is a shift into another realm : fabric becomes flesh , a sack , or an embryo , pins become candy , paint becomes a skin of strawberry icecream or bubble gum , a pom pom becomes a microorganism or disease . My work strives to have a visceral presence by virtue of formal aesthetics , often riding the line between what is beautiful , grotesque and delicious . This speaks to various dichotomies I often reference in my work , such as light and dark , spirit and flesh . Working on muscle cars was a large part of my adolescence , so I often reference this aesthetic in the form of flame jobs , pin striping designs , and metal flakelike glitter paint . While alluding to the idea of “ eye candy ” and the obsessive customization and adornment often associated with car culture , these visually ornamental aspects of the work also carry spiritual meaning . At times they may point to things in life that are fleeting and carnal , the lusts of the eye and impure motives of the heart . However , flames can also symbolize the idea of inner refinement , as in the burning away of impurities by the Holy Spirit . Ornamental hood decals and sparkly paint can speak to the visual softening of something hard and made of steel as metaphor for the softening of the heart .