In the slow pace of today's art, I have thought several times with myself about the social and historical role of the contemporary art and today's artist, sometimes I appreciate it and at other times the sorrow which accompanies a contemporary person, forces me to call the artist a vandal. Therefore an antithetical process has imposed itself on my works.
At times, optimistically I have used the material in the utmost possible way of consumption, and at other times due to an anger and disappointment, I have eliminated the material from my artwork.
The example for the consumption of material, can be seen in my work, CHAMAR installation in first conseptual art exhibition-Tehran's Museum of Contemporary Arts (2001) and as well "The Expired poem" installation in 2013 .
CHAMAR installation consisted of thousands of burnt out fluorescent tubes which were washed and cleaned and later filled with hot bitumen and water, to imply the bitterness of the moment.
Behind some of the tubes a statue of a crying woman was placed. The refraction of the light made the image of the statue to appear repeatedly.
The work was based on the rituals of the funeral processions in some areas of western Iran.
The second approach, in which I practiced to eliminate the material, can be seen in my installation works named "Image 1-5" (Salzamt Gallery, Salzburg, Austria, 2012) and "Ego" (the current work).
In "Image 1-5", the idea was to liberate the artwork from limitations of material
The empty space above the stands and a written description of the characters will combine with the imagination of the audience and will create a sculpture with a unique visual hermeneutics.
At the same time a white circle appears trying to connect both the objectivity and subjectivity, in order to create an overlap and concurrency among the two.
What has been shaped by our imagination, aims its weapon at us or at someone else at a certain moment, threatens us with a stone, pours urine on our feet, ignores the fact that we are alive and carries out the ritual for the forgiveness of the deceased over our bodies.
Here the "absence" multiplies by the number of the thoughts and fluctuates in an indefinite time.
The absence creates an intellectual and physical interaction. it becomes a religion with no sanctity. The nonexistence incarnates and creates a gap between us and itself. it finds an identity and its identity targets the contemporary concept of the material.
"Ego" is a two-dimensional work(40cmx60cm), based on playing with the implications and meanings of the words.
The work has been created with unusual material.
In this work, the two words "Maniat" (Farsi for ego), and "Mani" (Farsi for semen) have been mixed.
The work consists of the minimum external material and in fact has been created only with a material from the atrist's body which is semen, a material produced by the artist's body and at the same time the source of reproduction and birth.
In both approaches (using the material and eliminating it), the aim was to directly transform the idea to an artistic statement.
Whichever approach I adapt, creation is the most inevitable characteristic of the artistic part of my personality.
In my mind and my works, black and white wont merge to create a third colour, but they create a line with no reconciliation.
In my world, classic or avant-garde art, old or modern, art for art's sake or art for society, postmodernism and modernism, or any other kind of antithetical idea has a separate existence and has its own place.
The essence of my personality is not based on a mixture of my givings and takings. It is in fact a blend, and the noise created by the grating for this blend, is the sound of my existence.