I remember my childhood, when we were finding a polished, round stone, we were putting it aside for playing “ye-ghol, do-ghol”. We were used to collect those stones in our hands with joy and drop them on the floor after a few shakes. The only thing that mattered to us in that moment was how the stones were about to be placed for the game.
Mentioning this, I continue about Mahsa Tehrani’s works. Her figures (the stones) are some subjects left on the green background of the canvas, which depicts a boundless plain. The overall atmosphere of her works follows no rules in combination. Our looks are thrown from one subject to another one, and finally we take our eyes off a work with no result and move on to another work. This lack of composition in this series of works, which is of course intentional, along with the similar background of the works, inevitably draws our attention to the figures.
The figures in Tehrani’s paintings each have their own act; some seem to be aimlessly wandering, some are happily jumping in the air and another one is busy flirting with his lover, as if everyone is on vacation in an apocalyptic weekend.
The more we go on in these works, the more we enter the artist’s mental world. She is seeking a romantic calmness out of this chaos. Her emphasis on the emotional and imaginative qualities of life has given her works a romanticism logic, but at the same time, artist’s technical weakness (more in figures) has decreased the beauty of her work. Dividing some characters from their large boards and moving them to smaller ones, the artist deals with some short narratives which due to that, the audience finds more opportunity to think about the figures actions.
In her first solo exhibition experience, Mahsa Tehrani has shown a concerned and of course idealistic mind. One of the most important factors in reading or judging the works of artists, is to look at their process of work, which that means we shall wait for other exhibitions of the artist.