Samira Eskandarfar is a painter who has also had experiences in the field of photography and filmmaking. Over several years, she has selected the women’s activity, human and human relations as the subject of her work. Her work is borrowed from the postmodern western look in executive form. Deforming the portraits that sometimes goes on to the point of disfigurement, deliberately deprives man of visual appeal in her paintings and leads the audience to see the emotional state of her characters.
The use of text in the works of Iranian artists, which embraced the Iranian art in a period like a pervasive wave, didn’t leave her as well. In several collections of text and portrait combination, she invites the audience to the interpretation she has in her own mind, though the work of art, no matter how clearly expresses the idea, is yet caught in a kind of hermeneutics that has no escape from it. Iranian art overtook the western postcolonial vision in a certain time around late 2000s and early 2010s, in a way that for the revival and resistance of the Iranian independent look, displays what the world wants to see from Iran, instead of resisting the western cultural attacks. This gets more complicated when it comes to the subjectivity of the woman in the art these days. Although such look is not over yet, but is going on with some positive changes in its context with the deepening of the women’s look.
This kind of production definitely led to overseas success, especially for the women artists, but created a sentimental flow towards women in art. Although the effects of this flow were evident in Eskandarfar’s paintings, but her persistence in this form of looking at the subjects of human and femininity, led to the creation of a personal language in her works.
Her recent exhibition “I Was Here” held at Azad Art Gallery, is a continuation of her painting style; paintings in relatively large scales. Some close-up portraits that have filled most of the canvas, with the difference that in her new series, she has placed the man in the context of nature in a way that is dissolving in that space. In this collection, man is no longer a central and important figure, but has undergone a metamorphosis. After reviewing her works, this question comes up in the mind that has this transformation also occurred in the artist’s worldview or is it just limited to this exhibition?