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拍品专文
'My fascination with abstract art began with my personal exodus to New York in the mid-1980s. The stage was set for the video installation movement to take off, but coming face to face with the magnificent works of Rothko, Pollock and the new wave of American Modern art had a massive impact on my visual thinking. While it may have been more fashionable to get involved with the new mediums, I was captivated by deep feelings of passion for painting. I was seduced.
The practice of an abstract mind lasted a short while, yet deeply affected my figurative art. In Iran in 2007, there came a flashback to my early days in New York. Out of this perspective came A Page of Shahnameh, the initial piece of a series which had its debut in Paris. This new series was, perhaps surprisingly, born of the very abstract soul of Persian Miniatures and an homage to the freedom and the performance displayed in the works of Jackson Pollock. A freedom which I see as the core of art.
Hearing music within the feel of the series, I was compelled to title the works symphonically.
The early Prelude In Pink, a turning point and a personal favorite, has paved the road to Symphony No.1, a massive scale work currently in progress.'
(The artist quoted in 2010).
The practice of an abstract mind lasted a short while, yet deeply affected my figurative art. In Iran in 2007, there came a flashback to my early days in New York. Out of this perspective came A Page of Shahnameh, the initial piece of a series which had its debut in Paris. This new series was, perhaps surprisingly, born of the very abstract soul of Persian Miniatures and an homage to the freedom and the performance displayed in the works of Jackson Pollock. A freedom which I see as the core of art.
Hearing music within the feel of the series, I was compelled to title the works symphonically.
The early Prelude In Pink, a turning point and a personal favorite, has paved the road to Symphony No.1, a massive scale work currently in progress.'
(The artist quoted in 2010).