Mohammad Hossein Maher
Audio of the Entire Interview
Interview Transcript
Part01
I’m going to head to the main issue at least fifty years ago, even more of my fifty-eight years now
And when we migrated from Abadan to Tehran, I was six years old
The years were calm and social, and the fact that my father worked at the national oil company as technician there
It was active in oil tankers and in the main sector
Naturally, I am representing my hometown Abadan, the city where I was born.
Sometimes very silent and irrational, and sometimes very obvious
Because every time I enter to a new mindset, they flicker away their presence
from “angels” series
from “angels” series
from “angels” series
Anyway, in the year 40, 41 we came to Tehran and spent the school and primary school here
I remember that the first drawings I was doing in the primary school, perhaps the most interesting thing I remembered from my course, were the flowers I was drawing
Well, we had a good teacher. she was a fascinating woman who is very kind and young and this is gracious for a child who goes to school
. And I do not know why I liked so much hyacinth flower, I always paint hyacinth, maybe because I had learned it
. I also go to high school for many years, in the third grade high school, the 9th grade
there was an expedition held by ministry of education to camping and for this event we were invited because of participating in a painting contest
In that camp I remember well that I was very active in painting. I had a lot of curiosity
It was the first time I was in a social environment larger than school
The children’s and teens’ intellectual center was a good start at that time, and somehow they went and got there and borrowed the books
they participated in the painting section, and occasionally we went through school through the school
As long as I picked up my post-diploma, I continued to go to college. The family was interested in architecture courses for me to study
At that time, the National University, now the Shahid Beheshti University(SBU), had good examinations and I participated in and accepted but did not announce
and waited for the entrance of University of Decorative Arts and I accepted. then I said that I was accepted in Faculty of Arts andand all the steps were done.thus I started my study.
but before the university, it’s interesting that Mahmoud Dolatabadi, the writer entered our lives
He married my sister and he also did his own literary activities at that time, both theater and acting were part of his career
I had a lot of sympathy and listened to him, and he was sensible person in the conversation
he talked very concisely, he spoke very little, and I did not talk much and listened more
a time when when he saw my paintings and he was very interested in. He took me to the crossroads of the division and registered me the intellectual center
thus I went there regularly and took books and read them, painted them and this was a good encouragement
This mighty useful experience I talked about was my backbone until I continued my university college studies, then I had a professor who was introduced to me before entering college by Dowlatabadi
He is Shahab Mousavi Zadeh, one of the great artists and painters who lives in Germany, and I learned painting from him
Shahab Mousavi Zadeh, I remember him doing his studies when I was going to college. He was a very prolific person, who, from the time I met with him, painted for 10 to 12 hours a day
and still had the same amount of time spent with a harder physical condition, and, in any case, created a good atmosphere
They provided the painting that they were trying to convey to us, and at the same time, I was preparing, preparing, and designing with the university I was going to go to
In fact, my design base was formed with Shahab Mousavi Zadeh
“traditional dance”
“Mish Mast”
“waiting”
“Fisher(man)”
My college course coincided. By the year 54, they taught Hossein Kazemi at this university, Bahman Boroujeni, Gholam Hossein Nami, Ibrahim Jafari, Late Shydal, Monsieur Girard, and were good professors
That is, the first university was stable at that time. We had free tickets to Rudaki Hall, the use of classical music and ceremonies that was free of charge to us
If an exhibition would be held in Tehran, it was to be invited and with a good introduction. This is an articulate story that, in my opinion, the formation of the visual arena was also done in my mind
In the second year I had a classmate from the class I had with Mousavi Zadeh and I had a classmate that was six years older, named Hassan Safa, who was also a very good painter and together We traveled alot.
My journeys are the second part and an important part of my life. In learning, I became aware of the concepts and mindset that I might need
I had a very good courage and a good love for traveling
I do not know why and where it came from. Perhaps I was talking about things that I read, or the definitions I heard, or my uncle, who came to us from each other
and who was a man who went to different places and far away, defined issues that were very appealing, and I could imagine with them, I could see that space
Anyway, I remember the first lone journey I went to was 15 years old. I went to Shahrekord
And these trips continued during my studies, almost to the village of Iran, so now I do not say that I was a hundred percent but a high figure from the villages and cities of Iran
All of these were all good for me, which I could use in my mental collection, or the order that was needed, and even in the praxeology that I later used in my figures and environment
and I took advantage of that replacement. Always with the drawing office, the design office and the watercolor, sometimes some crayons, very light appliances that I can move
The third year I went to Kelardasht with my friend Hassan Safa, whom I said that he was deceased and I missed him very much
At that time, when Kelardasht was still an unknown place, we went to a village in Kelardasht, my friend’s uncle was in ministry of education, an he was the reason that the rurals gave us one of the classes
and we would go there with lots of canvas and oil paintings and We had painted small children and villages there and the nature
In fact, part of my learnings happened in nature. from These trips I went to, one part, well I remember that in the 57, Nowruz 57 We went on a journey with two of our friends and where ever we were going to camp
for example, I remember I went to Lar, Fasa, Darab, wherever we went, half a night SAVAK came And they would drive us out
It turned out that the space was a bit confusing and tried to become more secure. Well, naturally, we also had a background
we did not mean that this past three years was an inflammation in our minds, whether right or wrong, in terms of judgment. We worked on these
I was always studying very often in the literature of the novel especially and later on in the history that I learned a lot and came to my career
And the conversation and the people who were being the opposition were the opposite, the alternatives that you could have, and you were in touch with them, and hear them, and in fact, not really close to the currents
and naturally all These formed a mental set that came to 57, an exhibit at the University of Tehran, the University of Decorative Arts, which I worked on and published a few pieces
I remember postcards printed early in the revolution years, which was one of my works. In year 58
when the Museum of Contemporary Art was reopened, there was one of the artworks I had worked in Kelardasht and It took one week
My university ended in the year 58, and I wanted to go to France to study abroad, and so I had been soldier(military service-conscription) and I could not do anything else
Little after, I started teaching at the same college I graduated as an Adjunct Professor until the 59th anniversary of the Revolution
and the Cultural Revolution occured, and all of the universities were closed, and I decided to do the service for the military so that I could go to France
“furthur”
“Untitled”
“Untitled”
Years 59 to 61, since I was teacher at university, I was still instructor when I went to military service, so the university also asked the army for permission and gave me the admission to teach after the service period
at the same time the war began, and For two years I was on the battlefield, at the end of a year at service, they said a year and a half remained
and when it was over, they asked for another six months extension and so a large part of the memories tied to the battlefield
That era was a very developing time in my life, basically, I’m not a person to sit idle, and when I’m not working alongside my tools
I feel that I have lost something. I bring my sketchbooks when I was in the battlefield, designing soldiers, sergeants and officers there
I designed about two hundred and thirty artworks at that time. Now perhaps 10, 15 of sketches exist, and they were the ones who were martyred and those images returned to me
I did not visit my hometown, and I would go to the war-torn areas, I would go to Sarbandar, the port of Imam, which was then called Shapur’s port
Abadan, which was very attractive to me, that I had a choice when I was to go and both They were either a war zone, or Kurdistan, and Khouzestan, which was more attractive to Khuzestan than I would like to follow a memo there
At this time, I became acquainted with the war-torn soldiers, the Arabs who were buff or farmer, who were not allowed to leave the war zone, sometimes came in the city and sometimes around the cities, and a good relationship established for me
I tried to use that dead space at least as long as I am alive. I’m optimistic, and I try to make the changes that make me feel better with the space that has been given to me
It was the year 59, 60 and 61 when I got married, 62 went back to France and 65, and during the period in France I tried to go to university and register my name at the university for master’s degrees
I used the Parisian Academy of Extermination and used the design classes of the municipality that were very useful, going to exhibitions, getting involved with life for some time
It was the year 66, 65, come back and go straight to the south. Starting a more serious and professional season starts with my career
part 02
I came to Iran, two points of Iran were attractive to me. On our classical literature, especially the poetry of Rumi, Hafez, Saadi, I have always been full of beautiful images that I have been impressed with
. I came to the south, first I went south with music and the space that was closer to my beliefs. For a The project, which I have defined for myself, comes from one of my rumorous stories that I go to Torbat Jam, because I knew there was a local dance called its name
. “Peltan” is actually “Peeltan” and this is a collective dance.there is another dance called Apar
I went there and painted there for five, six months. I provided a very educational environment, very native. Many worked
. I also worked. The space allowed us to have a lot of local models, and we could be the one who was very influential in painting and video dialects, not the dialect, and studied those rituals & modes
. Between the south and Torbat Jam, the south won, and I kept going south. I remember the first time I went south I went to Minab and Bandar Abbas
. I went to the market for fish selling in Bandar Abbas, so I took it there, so I went there to work there. I was sleeping there, and with many people of different types, however, it was a bit more open culture, it was attractive for people when it was designed
. If you do not know, the person who is not familiar with the subject and your hand and finds how a line can be curved to find and move and record something is fascinating, because this tool is the way and the way to get close to the human
What I did in nature, I even had the color of oil and watercolor with me, and they did not satisfy me for five, six, and six months
. It seemed like they recorded what I have and I want to repeat it
For example, This is the hang of Bandar Abbas, the weather was very hot, and because it was sultry, the colors were gray, I was struggling, and then I saw that this is not what I want and my sense of touch is more correct than my sense of sight
So the start of a change came from an objective consideration and its integration with a mindset. Naturally, warm colors came to my mind and the space in terms of form for translating for myself and I saw that this space can not be dry
The darker the ozone is that I need. My forms are subject to those changes. I later realized that it was the intention I did not go to warm and smell the form of harrow
For it taught me what to do. My work in the south was about 10 years old. I was traveling and married, and at that time I was impatient to go
. I started painting there. I went to Bushehr for a while, in a talk with Mr. Dolatabadi, who gratefully wrote a preface to the book that was published
. For them, I explained to you that in Bushehr, in that alley and in the streets, when you walk, you have mental security, and your body seems to be ready, and this is the role that it created for you
. From these, I learned that Dawabat al-Baydah described it as a blow to the winds in the alleys and led to the life of the people, and that’s what happened in my drawings and was taken away
In the human mindset, I was gradually learning something new in the south. The sea was very important for me. I could listen to the sea, I could communicate with the waves, and I could discover a connection and an order with the people who navigate the sea
In the south, by the sea, there is wind, and women have their own tent that runs as a port, its parts are open
As the wind enters the tent, they move in such a way as if they were dining, and then, with a little care, you realized That space inspire the whole story
That is, I was able to understand that space, that is, perhaps one part of the things that made it easier to communicate
My observations were on my mind. The masks that were made look and fit me with the back part They got their lodge and I saw their form is one. That is, this rhythm and this connection between the climate, geography, culture
and in fact the atmosphere I could understand, and this yen was one of the successes in the process of work, which was also a method of research for me, because later, after returning to Torbat The cup was so much more fluid for me to continue, or the other trips that would go a lot to me
. In the Sihoun gallery, I had more than six, seven individual exhibitions from my courses in the south. She wondered if there were any changes to things that were no longer my local issue, and that I was thinking more geographically
. I must be involved with the spirit of man, with my soul, with the spirit that sometimes man has different modes in different circumstances
This exhibition’s collection was displayed at the artists’ house, the works that included the statue of Ham, it was a very difficult time, because of the economic pressures that involved the livelihoods of the people
. And when you talked with people, you felt that the other romantic horizons Not everyone was talking about problems
Sometimes it was not referred to. I remember writing in a collection that I called. I invite angels to the ground. In fact, it was a romance that I called the word “angel”
and I was referring to a human relationship that could be very intimate and could solve many of those problems-that is, an emotion and relationship that could make things hard
. I put an exhibition of this collection that I had a part of the ozonation, to the Iranian gods, in fact, the angel of adoration, the bird of adultery, the things that are in my mythology, which I presented in the form of a statue
The statue of Ham was the human transparency section that the light could pass from within, and in fact you can see beyond it. So I went to material like glass … I did not use it before
. I neede the transparency so I go for it. I had to restrain this glass, so had to built the metal structure for them to keep the whole structure safe. sayong that there could be 56-57 artworks or so in the gallery, it was very popular and had a better atmosphere than before, so I made it possible for these glasses to In fact, they can be controlled and controlled.
I presented them as an exhibition of 56-57 works in the home of newly formed artists, very appealing, and a better atmosphere than before
I came across Manavi’s work, and I saw how beautiful they are, how fresh they are, how old they are. How can they show different spaces? With our art, we became more familiar with our visual art
And that’s where it came from, in that time-consuming period, but when I was doing things in the South, I was also studying on this part, and the same compositions and the same look at the southern drawings Getting there, starting with a mythical and minimalist thought, means that you can not have a story for him, but it has its own stories
Things that are minimalistic and can be much wider. That means a plurality of people who have a unity and removed their own add-ons, and in the process of your mind, in fact, it opened up more
The exhibition of myths was held in the gallery, and now there are so many exhibitions, but these are more prominent points. I showed the gallery, and when I was doing it,. I was temporarily tied to the works of myth, My mother got sick
The one who was very supportive of me and we had a more pure conversation. And my illness and the suffering that my soul was doing my myth, one time I looked at my head, the changes in my face became my subject
saying that when I was doing it, I was struggling with my memory. I was temporarily tied to the works of myth and with that memory I’m talking about
one time I looked at my head, the changes in my face became my subject, moreover, my image was not my subject. The changes that were made in a crack
a cut, a violent, a prominent part of your physics that you can now see, my subject was no eyes, eyebrows, nose and mouth, and my face was full of events that The length of time had fallen. The set(colection) of messengers or heads was formed
This was a runaway collection of that story of my mind involved with the outdoors and distracting me.
“Memorial”
from the “Masks” series
“Decency 1”
from the “Masks” series
“Embrace”
from the “Masks” series
“Kiss”
from the “Masks” series
Part 03
“Carcass #”
from the “Shock” series
“Carcass #”
from the “Shock” series
it was 1388 I remember that for only 6 months, I took home all the big canvases I had and painted, and part of my subject was actually a large part of that year occurences
The set was a big part of the breakthroughs that this period ended up becoming a work set
a terrible state that the skinned fishes are actually skinless even sometimes bloody as if you’re showing yourself in your body, and there’s no one who can understand this mental repair
you would not believe that it’s one of the strongest courses in my career, although it’s the saddest period of my career, I do not know what I had been up to, in terms of technique
. I just had a boom maker. I used all the abilities I’ve learned, and some who claim that this is a very simple technique, then they’re going to refuse
For myself, it’s just like a reminder of how comfortable I am. As It has gotten the record for time. That is, it’s time to get it
Naturally, this was so immediate and so inevitable that it would have left me from a collection of myths for a period of time. The reactions were completely different
Do people like to have or expect us to do the same? Externally, its criticisms were sometimes sparse; sometimes it was not perfectly kind
Sometimes they wanted to make you sympathetic to the body, but the real thing that happened to me. And I could not avoid it. I took a step above me in my own
That is, I was able to develop
My plants were a collection that I featured in the Sin Gallery. This set of shapes was such that I had the time I was working on my myth
. I had to have a different material, a creative or imaginative element of the human being, the wind, water, soil, and the fire. In fact, in that part of soil, I was actually trying to talk with the stone, and the plant and, therefore, the plants that I needed
should have an attitude like myths, so I could not sit in front of nature and the plant in the way of naturalizing work So I started a study on medicinal herbs that were from the Ilkhani era
, the notes that were available and I worked on them. Then I went to the nature and took all plants and grasses that I needed to create my compositions and began to work
. It became an independent collection with a book published in the name of plants and its show was very spectacular, and that There is a cryptographic connection with our previous painting
, which is probably in the process of study, which is now continuing and seems to me closer to what our memory of painting has helped.
in 1389-1390, I began to remind the monuments, that is, to remind me of the various historical periods that were created and built and that they were to be registered
By approaching this, I entered this category. I went to nature everywhere in Iran wherever there was a memorial. I was going to places and was designing and was sketching
Sometimes I was going to visit Anarak. We went for another purpose, but I saw how good it was. I got to Hormuz where I went to camp every year for the last 30 years
I got a house there for 3 months and found a cake that I could arrange this collection and I worked naturally a bit
I came to Tehran and I started to give it going on and I went to Tehran. This final collection of 30% was almost displayed at the same exhibition exhibition I was working on for 10 years
But in the last exhibition, I presented a statue that was supposed to be five pieces.
I also did not have a budget perspective because I did not know if the statue had a bigger dimension
, there should be an order, and an area that you can cover if you did not sell. So I created one of these, which was 3 meters and a half. That is a monument to the end-of-the-mill system that was my struggle
It was focused on emigration. What is immigration? So I put some small people in the complicated path that’s like a broken head and they are also on the way to commute
This last collection I said about is a story about immigration, a story that maybe I myself was involved with it. I never immigrated. I would not want to. does not have plan in mind either. I love this place. I think it’s very good here for me
And it will help me.
But as for my daughters, because of studying abroad, this is an empty part of your mind or your memory. It’s up to you to focus on these things. You follow in your civil society
You see, the flood of Iranian immigrants to countries So far are too much, and then you sort them out because the displacement is not a bad thing that in time, if the person does not move
, it does not actually grow, but when it comes to escaping or digging or metamorphosis, the story will actually be different. That is, Everyone who comes from somewhere else gets more problems because he has troubles and Problems there
I added the field. As a result, there is a perturbation in the human being, that is, you will become involved with a set that these people lose all of their lives
There will be no memory, no history, no existence in the sense that they can define in relation to it. This It was one of my mental conflicts that I got into this final collection
“untitled”
form the “Monuments” series
Part 04
I always think about how the original painting was found in human beings. Its therapy is, in fact, the strongest part, and you are unknowingly (the characteristic of art is this now since you mentioned the painting I referenced it here).
Art is going to remove all of the heavy and so-called tumors of you and bring you to a calmness, and this beauty with pleasure comes naturally, but it’s rough and hard
Maybe if you talk to an ordinary person about it, who does not have the so-called artistic engagement and the creation of artwork, maybe he does not accept because the hard times are hard to come by
He is so deadly that he may not be convinced that he is not enjoying his pleasure. But why do I paint the original? I think it’s an inevitable. That is, a person who is doing an artwork or drawing a painting does not choose much.
The artist is more ride than the rider
The first sparks in the form of a skis are a small note. There may be 4 lines. What it wants is a subjectivity. It’s on paper. Then I’m playing on it. Then I play it freshly with my stuff
That means the game starts to get baked up and finds a better way to visualize it, and when you run it, it’s perhaps the least thrilling part of it, or at least the thrill When you discover and intuition and develop this mind on another paper or material
. In some cases, the work of the gesture is done, that is, immediately. It was like this to me for fishes. I did not have etude
. I came up against the boom, that is how much these were complete, and that my mind’s involvement was so great that I could not.
What to do for what? I did not want to paint a lot. It was so bitter, so much my mind was bitter, and so much of this conflict had hurt my mind that I just wanted to throw them out
. I had no other opportunity. What to do? There is something that is cultivated and as a heavy and exaggerative thing within you and you want to express it. I think the different processes work differently
. It is now much more poetic about this process than the start-up period.
You read the child you are looking at, you can read all his mind background
But with a person aged 70-80 you speak, you know that there are things that have a layer that shows the depth of the theorem
Now I do not have this as a definition. In doing this, too. You end up with all your achievements, which are filtered out and removed, in the steps you take, bring to you closer to one another
You look at the job. It’s very simple. You can do it. I look at the work of masters
Sometimes I try to make a difference, sometimes I have to experience some of these and I see that it’s very complicated
. It means that complexity is as much as its intuitions and discoveries
The same thing happens in the work from the beginning of the so-called less experienced courses until the periods that were no longer pure
Now, the truth is that I do not know at all what I’m painting when I know I’m focusing this way on the body
. I’m concentrating on the balance. I see its contrast, but when I’m working, I’m not involved. I’m not too much worried about it
The thing you are involved with is expressing itself. Laying Colors Sometimes I see myself well after what I did, but it’s not happening. It’s all the accomplishments you’ve done right now
It does not matter. it’s part of that if I live another 20 years, I’ll be twenty years old, maybe I’ve had other things if I can open my mind and my mind could be running
long lasting things are that ones to have something discovered in them – that is, in fact, they are contributing to their audience. That is, you did not get the gluttony. And you can not
. Your unaware you have a contact, and this audience may say I’m myself and I work for myself, but this is not my person anymore more than an individual
My medium was always oil paint on the start. But then I met Acrylic many years ago when acrylic came to Iran. for sketches, I always had the same amount of pens and pencils. Both are usable to run
Sometimes I’ll have to mix them together with everything else that can be more expressed
Well, of course, I have a toolkit of engineering and information, and this has done in another part of my career, which means I have no idea what material should be used together. What steps should be taken right.
You can not use water on the oil. There are glues that are available to avoid mildew. You can avoid the blemishes of the paint on the canvas surface
It’s a matter of fact, because it’s worth it, it’s self-sufficient to know the technical knowledge. I’m going to get out of time because some of them are really trusted
Naming about my work happens when I have my first encounter, the same as the sketch course
That moment of a conflict. For example, now, in the case of a doubt, I happened to be shocked when I came across a lot of pictures and found a conflict, I found an inner question and an external question
. See where I am from? This is a kind of reality and this shock ended up as a collection.
As for the role of the palm, I had an exhibition called the role and palm, which started the work of the south a year ago, that is, after I came to the realities and I was able to approach the imagination a little bit closer to my customs and beliefs
In terms of its texture, It also became the subject of my content. That means it guided me
I’m not going to work. Then I’ll see what I’m doing in my job so I’ll pick it up. It’s not logical, that’s very artificial
Part 05
I had a friend, always said that you can do everything right now if you can paint. He would say. Moving from one point to another
One way you have to give it energy. Make it hard. You need to get tangled. You have to touch it
. As a result, you find the path. In my period of formation, the same period as I was student at the class of Shahab Mousavizadeh, a rabble student, came to us and began to speak with this calm and so we saw him later
And it was “Sherveh”
“Sherveh” was one of the most influential people on my system. It was an independent person who was constantly searching
he also had a point. I remember what anatomy he taught us, he taught us how to Look at our world.
Things that are so insignificant are sometimes the most important factors of the quality
Sherveh and I went to camping and nature even before it died, and I was still learning from him. in The sculptures he taught me a lot of things
. Look up. We remembered that the nature of the work he would said that to me “Hussein” look at the grass
We looked at it and we saw how beautiful it was. We thought that this was not a marvelous thing
he used to think of it and thought loudly
There were a lot of questions about who was very tight, but very impressive, that is, if we wanted to see someone impressing in the last 30-40 years, it was “Sherveh” himself.
. It’s true that you are painting all the painters from the students Catch the masters present in Iran. With reference to the works of the painters, I have been able to see them closely over and over again with difficulty. I can tell you that all this has affected me
I can tell you that all the people are the same, that is, if I name a person or name a stream, it is not enough. But the fact is that the trip taught me something
Meanwhile, when my brain crawls and can not move, I’m traveling. Because I’m going to be lost. In fact, you do not have anything to lose. You make an experience to get something
. Everything that happens to you because it is unusual in an unusual space, so it tells you something. So one of the most influential issues in my art life was my trips
. They were personal, that is, the presence of the “Dolat Abadi” helped me to organize my mind. told me to look at another kind of world. Although he has never imposed his own opinion
Master Shahab Mousavi Zadeh taught me a different way of life. I learned a lot from Hossein Kazemi. See, these are unavoidable
. I learn from the cinematographers everything. I’m working on them. And I’m putting myself in that motion. I learn from a simple photograph.
And most importantly, in the course of your life, you learn with observations and experiences, what you can do and what you do. The most important of all, what has been done before, the parts for what parts of your mind are open
Every show as a matter of fact is a mirror to look at yourself. See the weakness of your ability. Removing and adding and filtering. All through observation and conversation, and sometimes silent
That is, we can be very glad to understand that the audience that goes where this vibrations are inside its vibration, wherever it can be contacted no matter where it is
When you do not know where to go and suddenly you go, it begins to sensitize you to receive information
. Naturally, what you see and see is your criterion. For a while, you feel that your first one is very typical here
. It’s all the other way around. When you’re contemplating doing something, you’re looking for something that does not happen on frequent trips
Cross-sectional trips at first start-up especially. It was for me so
You will see the main layers you will be involved in behind these common observations that you need to be close by with a thrill, one engagement, and a boredom
. In fact, pull off a curtain. In fact, when it starts, you get closer and more curiosity to the more important issues you are getting closer to
You look at the moon. Once you go, its close to you. The relationship is changing with you. Closer. You see it as a strange and stranger world
And then your questions about what’s going on here and what I’m doing here is starting
That is, your relationship with that space, and now you are starting to investigate. That’s exactly the way it is
There’s that trip for me too. Traveling, I mean, is not just this physical move, but the journey that gives you this opportunity, and you actually have the self-knowledge on this journey
Where is it right now and where as much as trips that go or get close to myself. to get to know what I am or nobility to what I am, there is a point that I may have covered two thirds of the subject.
. When you look at a stream, I hear someone when I deal with a phenomenon, I’ve come to myself with all that previous experience and I can not look at it anymore
It’s not too complicated to keep it simple, that’s how you can. Make a very simple statement, and stay away from the ambiguity that you see on your back
Part 06
The story starts from here, what I am supposed to do and how to think and why these ideas left me to be connected to my past
. One example I always tell my friends is first self-knowledge. Who are you and where are you, why are you here?
Who are your audience? What was your past? I think finding a place is always my main concern
Naturally, I went a long time following our history of art. I began to study our paintings at different courses. I looked at different ideologies of our paintings
Features and characteristics that have an effect on the previous period, such as appearing when I look at the first
I think that the roles of that period are all the same. Then it looks and does not differ, that is, the reflection of the condition I find myself having a routine
thus, I had to study it a bit more seriously, studying it in their historical period.
Governments that at that time have the power of their being able to play a part and influence not completely in this process
Well, that helped me so much. Then I saw that I could not speak without background
The reason for my relation with painting and past, and my insistence, continues to be that there are a lot of artworks in terms of campositions and It’s also used in motifs
My main concern was to create a motif of my own time and make me think about it and then link it to the current time
. A painter does not talk much. He’s trying to get some of his inceptions, even unconscious
because he’s been busy at one point, and he’s moving his mind in his career. The empty spaces imposed on my works
This empty space was in fact the lack of that awareness and that condition. Use motifs that may have been common
For example, we do not see horses here in the city right now
But the horse just did not ride. those days manifestation of consciousness had also come to the sense, and he himself is independent when you come to history, Rustam is so important so does the Rakhsh, as much as he helped him to be mutually supportive. This motif has little to do with content and opens up
Why we do not have method. See the style of a transformation. Thinking is a production of thought that should be able to handle all aspects
The artists present and involved in civil society have their own roles and tools of expression
What the society should have is a thought generation. There is a controversy in fact
The polemic we did not really see in our three hundred years
That is, after the repeated defeats
both in terms of not aligning with modernity over time, how far back the technology is, what challenges and strengths of the improper people are the political and social challenges
You know, this has not been done now that a thought is being made, and that bright intellectuals and artists can spread it in a format
They have fled their discoveries and their feelings of being around them. But it’s not the style. It’s not the style of production
It means that when you have the classical style, this is style in literature, there is in music, in painting, in architecture, in economic relations, that is, in all the relationships of the time, but you have come from the past 200 years What changes are there in this regard
. In the past 100 years, we say that contemporary art or the art closer to ourselves. The more lucidly borrowed from the West, the exciting technology it has come here, and this is a response
. Or a parallel and pale little line with that outer line is moving and wants to replicate itself, but it does not matter
This is a big problem why no to have genre. Iran had genre. You have not seen the school of Isfahan yet. You see that there were all the notions because it was the production of thought
Because it had an intellectual root and thought, passing through everywhere, passing through its architecture, passing through its philosophy, painting, drawing volumes to the poems that were said, the advice that was left is very interesting
anyone does ask if there is no genre and style so that this genrel of “Saqakhane” is nothing
an ode of content is not a genre.
A stream is with an aesthetic perception that is referring to its past or trying to do it
Finding something opensource with a look of the Western vision
Now, I think that now, many people will cringe this and do not accept that I give them the right to do so
In Iranian art, like in the story of Thousand and One Nights, when you define a narrative, there are thousands of other branches
There is a passage from Saadi who says, but I demanded that, when I reached the flower tree, I will give the companions a gift full of flowers . As I got it, the smell of glam was made me so drunk that I slipped off the floor.
I think the reason for our failure is that this group work is a great investigative work and a recourse or grave role in terms of documentation, analysis, matching, alignment with work
That is, a painter does not answer his question, but this one There is a story that criticizes a large research team that can scope in all areas of the information
. That is, when you do not recognize your location correctly, you can not have a platform and deal with your audience
It had not done enough by the painters. Its knowledge was not enough. Maybe it was not enough time and thought
It had to go through several things. It had to grow up. It was going back to the past. The correct analysis was. The books we were referring to
Most The West wrote that using the Orientalist science, which they taught us something, most of these things have been analyzed for themselves and can be used.
We are using it in that much capacity. This should happen in Iran. I think the team is weak
That is, the team that should begin to dredger and clarify the issues that are already out there
That is, you think that an economic analysis is going to be done when it wants to do, whether in Iran or outside of Iran it is a team that starts exploring the pathology of Taking them there and take them all together and finally make a conclusion and suggestion
This has not happened here. I can do it on my small area, and then all of this is about co-opting, consulting, engaging and negotiating
This is a tradition that has been lost for many years, meaning that people do not have the right to sit and talk
They have trouble sharing their problems and getting them to conversation
There are so many issues everyday that you are losing conversation, and when you get together, you just want to make an extra out of the ordinary
And you will not get that argument seriously. My reasons for this can be in my opinion
Part 07
You know, classical art has the right to express its own time & transmited ro you
With it’s own aesthetics & history
.you use it as a matter of fact. It’s not so much dictated and limited as you say, that’s it or that’s not.
You use it as a necessity and take it
About modern art and contemporary art
those who are working now are contemporary. There are new definitions for contemporary art
Saying that postmodernity actually starts there
these coordinates is a must have
These are also information from the West
A discipline that I would not prefer.actuaaly I’d not believe it
Depending on different circumstances, it must have its own capabilities and its own definitions
Modern art is the distance between the movement of the preceding tradition to the so-called Contemporary Art Contemplation
which I did not believe in such a thing. It’s not all that much , A gotten out of the West
because we did not experience the era of modernity, which we now want to embrace in the modern art world
. That’s a catchy, so-called attractive perception
cleverly taken from there and stretched along here
I do not believe in specific thresholds for this
Meanwhile, I still believe that you can have a modern art if the natural and logical course of traditional art is taking place without interrupt or re-connecting
not just the shapes or motifs derived from it
It’s so superficial that people think if they have four of these elements dropped here, it can be linked to art
. Instead, it is the thought that I think, that belief, that abstract, and the thought that could be transformed
and naturally reflects on the work of art and also about contemporary art
. You’re living in a time where unfortunately you’re not connected to somewhere
Your past is not too close with the present
Thus, you try to use somethings as a package
Specific contacts, specific materials, specific motifs
specific sponsors and these are what we see around us nowadays, more and more
Everything but the new thinkings
Our youth have a different way of thinking now, with new tools and they naturally interact with it
. If this is the case, it’s happening
a good occurance that can be followed parallel with the West and respond to Western orders
Right now, if a young artist sells well in a an auction
you’ll see the overall impact on other youngsters
So this effect is not the content, it’s a section
Not decisive
SeeMarco, Vaziri, Al-Khasa, all of these people are impressive people, strong people
put their lives in this flow, but there is no part that reflects the thought because of bringing the information of that side to us
. Marco, spread the flow of contemporary thought in the art of painting
and I learned that he was speaking in a simpler language, but it did not belong to me
See, it’s not forgotten that if
an artist in one corner of the world is doing something that I use
, I do not think he wrote that story for me
, it’s written for his own society, with there’s circumstances, I am only using it
It seems to me, in my opinion, that we should not be misunderstanded. That is, if Marco does it here, for example
in the French society, Malovich has something similar to do – that is Malovich with a cultural assault
with a clash, with a so-called outbreak of informations and questions
that The French community with background of the 400 years of artistic historical experience, or three hundred years or so many years, has come to this.
in Iran
suddenly, for example after Kamal’almolk that there would be a 200-300 years gap between him and Malovich, this has happend so.
Part 08
The youth are very smart now in my opinion
Different media and various media outlets have given them the opportunity to get a lot of questions to be gained
In fact, they make it less likely to be in the way
what’s happening right now is more like information
If you had a question there
you would answer it, if you had any ambiguity about it, you would have to find it
so you would have to go to different branches either on your own or by the way
This is happening less now
If you expect a good gift from someone
and this is given to you untimely
all its quality will be lost
The necessity and reasons will be lost
The current conditions are so’called in my opinion
to have a bike in those days, you had to do a lot of work
and when you got it, you really got used to it
Another thing I can tell you about generations is that
Heaven/God Forbid do not carry this as no attention to the young people because I really believe in them
because they have other potentials that actually fill these parts that I am talking about
Sometimes. Not at all, but In most of them
those who believe, they have a prospect and, in fact, pursue a goal
When we painted, we thought that it was a means of learning to help us express ourselves
, to enjoy a lot of things
So you have to lucubrate for it
not just to be tempted to do the painting, to do the task
You are supposed to become aware of it
To know something so close to you, work hard so that you can find all its coordinates
To draw a painting, you have to draw a lot
These were the things we had experienced in the course of the time
as You see, so many of the youngsters who paint do not go through that process
But this happens in Iran that I’m criticizing it
You go anywhere. In their college, they tell you that
these are the possibilities. If you want to help yourself beneath circumstances, you have to ask for it and do it
. it’s obvious that ones who take the process much more serious and do it more intelligent
plus helps from the current media, which gives you more convenient and complete information
So, in other parts of the world, not everywhere, you see that the one that goes through has the same procedure
and so does the abilities that exist
As a conclusion, the result is better and more positive
It’s very interesting to note that when we painted we had no horizons on financial issues
. We noticed that the first and most important artists were in better quality of living
but we were responding to that mental state and internal needs
This generation, which we are I do not know probably that who are the next
It was even more common feeling at least
even in nowadays, If I find out that the market does not accept something, but it’s my subject. I’ll do it
. I’m not afraid of it. I’ve got another way to live my life
But I will answer it
I want to say that if, a pure art or a mental abstraction have even reached me, its because of the necessities, and perception and ability in me
If it doesn’t have yet, It’s the lack of knowledge by myself
saying that I don’t want to determine the scope for myself
I’m changing. it’s far away from When I was 20-24 years old, and from now that I’m 58 years old
I’ve changed my opinions about a lot of things, the taste of what I eat
the feelings of emotions.for example now I feel more cold
You know. you’re using much more of your sensitivity to get clues
So this is more realistic.
Part 09
Many, of course, have read the novel Michelangelo of Romain Roland
Romain Roland poses a point in a sentence about artists
saying that when they sit in front of a person and want to portray him, they are unaware that they reveal themselves
This is a fact
Maybe it’s possible to say that you’re in the bottle you’re drawing
It’s your personality
The excuse that will give you the opportunity
in literature there is the same procedure. when you read a literary work, If you know his writer, and you understand his poetry
you see that it’s surroundings is somehow reaching you, the nature of his knowledge and he’s behaviours. It does
in painting it’s much more evident
In sculpture is also more like, because sculpting takes more time and shaping process
You’re moving it with your own technical knowledge
You pass all your thoughts with your own technical knowledge to that specific work. You can not avoid it
even though you think of sacrificing yourself
. You see, you are using your observations
but the fact is that most of what you do is your features and inferences that are transmitted to that work
See the thinking and the fantasy world and the real world
and what their relationship is as a general matter
It may looks like obvious to those who standing out there
. Because the artist himself or the painter thinks about what he’s looking for and what he sees
he does not want to ruin it
It’s a kind of observation that becomes his imagination. Items look like this
. If one glass is deformed, his intention is not to erase it. he sees that glass transformed. that is, he thinks its the reality
it’s still the internal aspect that There is, the degeneration of so-called spirit
when its aesthetics and its physics comes to the point that can concentrate to one point or be so far to oversee the totality
But when you see the whole thing from far away
many things depend on the score of the eye
how much you can focus
how you can approach it, how you can do it, or how you can get close enough not to Look at it
This, in my opinion, is the delicate thing that exists between imagination and reality
The position of your real imagination and its relation to your beliefs and it can be judged from outside
The artist can not judge himself
he thinks he has the most realistic things and the most controversial issues
Made a film by Federico Fellini called 8:30
Fellini is making a movie and returning to his imagination
and he lives in reality
and all this video links the two minds together. One part of that event is either a daily routine and another part of the mind
finally, the film that becomes the product is the interface between the two
That is involved with imagination as well as reality
But there is a kind of engagement that I can not separate. I can not say that the artist, when he comes to atelier, is another person
When he speaks to the owner of the house and he suffers from
he is the one who has experienced as yours and reflects in another way before
It’s not a lot of strange things
so if it’s not, it’s an artificial one
That is, you can not tell me that when It’s 8:30 AM, when I’m sitting at my desk
I’m a creative man and free of all the exterior concerns and I can penetrate the imagination I have protected over the years and in a closed bag and I’ve got to open it now
That’s not true
. I think that they are very close and not so different
That is, as the form and content can not be separated in the painting, at least i know
as an impact, the reality and the imagination can not be separated. See the imagination of your concise inferencess from outside
So you can change it into an academy, into a measurement and turn it into a filter to throw it away and Add it to the other side of the procedure unconsciously
and in fact transform it into your image. Meanwhile, when I was working on the myth-collection
my imagination in myths was the lack of myths
That is, I felt that I still need my heroes
I need the potentials and qualities that a situation can bring, and they are drowned and lost in a uniform and continuous manner
No love meant, not your past
So much so many repetitions that I have a 2500 years old reputation, I had the ability and … It was so monotonous and content-free that you would not have referenced to it at all
Each time it has the qualities and characteristics that these qualities can appear in a ghost or in a mythical form, so it is “decency”, one of them
“do not lie”, one of them
These are the myths that have been lost. That means while you were in a social conflict. You discovered these
Now that it comes and finds a new duct, it can not be separated. You live in a period when political issues have a different shape
sometimes being inspired by the Western world and modernized, the Political issues reflects and reflects on the economy itself
The economy reopens its terms on social issues
You can not get rid of this. You need to analyze it
This analysis sometimes relates to your observation and your understanding by referring to the documentation and the textbook
. when I used to work on “south” collection, I traveled south, and I was connected with the people there
The smell of fish on the market bothered me at my start. Then I began to understand that the sea was beside you, and you will always have access to this sea as supplier
See this link between reality and imagination
The mask that women look like is right from the back of a jumble. It means that these two are so connected that if you can not understand the origin of your reality
you can not imagine it, and the imagination is the smoothness that removes the additions.
Now others are analyzing this. Sometimes it says it’s a success, it’s time-aligned, sometimes it’s not the match
It’s the other topic of your presence at that time and understanding.