Taking a brief look at Masoud Aslani’s recent collection in Homa Gallery, entitled “Teapot and Iris Series”, the impact of Cezanne’s work on his working process is obvious. The works of this exhibition with the subject of still-life can be considered in the continuation of his previous works, with the difference that he act conservative in his approach to structure and composition.
In Aslani’s works, the installed elements and empty spaces are equally important in the frame, and not much effort is given to the details, which this behavior is one of the characteristics of his work. The views shown in this collection, are mostly from one angle, and the objects scattered on the table are seen from a low angle. Of course, the artist’s insistence on depicting one angle might seem a bit repetitive and boring.
In this exhibition, the audience is not faced with technical complexities, as Aslani has had a smooth approach to the use of materials and has simply used oil paint. Sensory staining with colors and lines that have abandoned the drawing’s restrictions are usually seen with bright gray colors in Aslani’s paintings and the colors are more responsive to the changes in ambient light than the objects themselves.
In terms of content, Aslani might be trying to portray a situation that shows some signs of confusion, but these signs are brief and limited in the final implementation. This limitation seems to be to focus more on the act of painting, but this causes to ignore a series of other visual features.