Short Reviews

on Iranian

Contemporary Art

Exhibition Review

You Want a Ready Response, Here I Am

The woman is placed in relation to the objects, home objects; in front of the wall, on the chair, and behind the curtain, to look at somewhere, to take off her earrings, or tie her hair. She is immersed in an inner storm but seems calm to our eyes. The lines become soft, close to the tenderness of the figure who can be different every time, but they are all hers. The sadness and regret and the threshold point of the inner storm, which is made based on the relation of the figure to the objects, is a motif available in all works and creates a similar feeling. The face cannot be seen. It is because sometimes the woman is tired, lying on the bed, so we can only see the tiredness. Sometimes the painter herself removes the face to make us go around a ring held in her hands. The body, however, keeps its own nature and speaks its own language, despite being tired.
The works are installed at a distance from each other; a chance for the audience to hear a constant, sad melody with a new sound. The distance helps the silence and boredom of the space. As soon as you turn your eyes away from something that seems simple at first glance, you realize that you are back to it again to see and hear it better.
The woman keeps herself the same in the image she presents, so we can see her as she is. Her body is never in the shadows. Parts of it are always lighter. Getting calm in the lines of the body, we feel the inside more. Any painting that is more successful to invite us to this lightness, helps us know the figure better.
It is the body of the woman that speaks.

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