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拍品专文
Considered one of the most expressive and emotive artists of today’s Contemporary Iranian art movement, Koorosh Shishegaran explores aspects of discipline, social awareness and techniques. Born in 1944 in Qazvan, Koorosh moved to Tehran to finish his elementary education. Soon thereafter, he was admitted to the School of Fine Arts before graduating from the Faculty of Decorative Arts of Tehran University where he obtained his BFA in Interior Design. His style has evolved over the years as he pushed himself further away from the constraints of Iranian art.
Working in different mediums, Shishegaran pulls inspiration from Iranian visual culture. He is best known for his dynamism, vigor, and vitality, all of which he combines to create these explosive, expressionistic compositions. In these configurations, he delves into the modern human condition and creates his own painterly language to portray different facets of reality.
‘I am a painter and communicate with line, point, color, and image’, (F. Akhavan, Koorosh Shishegaran, [ebook] London: Opera Gallery 2002, p. 5) claimed the artist, pointing out his ability to apply intellectual freedom unrestricted by the constructs of traditional Iranian imagery. His curvilinear forms remind the viewer that even though his whimsical compositions may seem created at random, they are actually precise and carefully planned out. This juxtaposition of perceived autonomy of form and the actuality of a deliberate arrangement imitate the nature of human action itself. These seemingly haphazard actions are in truth preordained; he determines these elements by giving them place in a causally structured universe.
In the present composition executed in 2005, Shishegaran uses cool blue tones and touches of yellow hues to describe an abstracted figure. Shishegaran cultivates abstraction and brings forth three-dimensional forms through his extensive brushwork and bold colours, conveying a wide range of emotions. In the original tension of being versus nothingness, solid versus void, mind versus body, the movement, momentum, and specious energy of his ceaseless spirals and coils flow through the whirlwinds of imperceptible forms as they twizzle freely in fluid space. Using light and shadow to ravel and unravel through these three dimensional forms, he gives the viewer an intimate look into the intangible world that is his mind.
Koorosh Shishegaran executed two paintings in 2005, titled Red Miniature and the present lot, Blue Miniature, inspired by the fluid lines and smooth colours in Persian miniatures. Shishegaran had appropriated some stylised motifs of Persian miniatures (especially Reza Abbasi) in his earlier works dating from the 1970s from the Appropriation of Works of Great Artists series.
Working in different mediums, Shishegaran pulls inspiration from Iranian visual culture. He is best known for his dynamism, vigor, and vitality, all of which he combines to create these explosive, expressionistic compositions. In these configurations, he delves into the modern human condition and creates his own painterly language to portray different facets of reality.
‘I am a painter and communicate with line, point, color, and image’, (F. Akhavan, Koorosh Shishegaran, [ebook] London: Opera Gallery 2002, p. 5) claimed the artist, pointing out his ability to apply intellectual freedom unrestricted by the constructs of traditional Iranian imagery. His curvilinear forms remind the viewer that even though his whimsical compositions may seem created at random, they are actually precise and carefully planned out. This juxtaposition of perceived autonomy of form and the actuality of a deliberate arrangement imitate the nature of human action itself. These seemingly haphazard actions are in truth preordained; he determines these elements by giving them place in a causally structured universe.
In the present composition executed in 2005, Shishegaran uses cool blue tones and touches of yellow hues to describe an abstracted figure. Shishegaran cultivates abstraction and brings forth three-dimensional forms through his extensive brushwork and bold colours, conveying a wide range of emotions. In the original tension of being versus nothingness, solid versus void, mind versus body, the movement, momentum, and specious energy of his ceaseless spirals and coils flow through the whirlwinds of imperceptible forms as they twizzle freely in fluid space. Using light and shadow to ravel and unravel through these three dimensional forms, he gives the viewer an intimate look into the intangible world that is his mind.
Koorosh Shishegaran executed two paintings in 2005, titled Red Miniature and the present lot, Blue Miniature, inspired by the fluid lines and smooth colours in Persian miniatures. Shishegaran had appropriated some stylised motifs of Persian miniatures (especially Reza Abbasi) in his earlier works dating from the 1970s from the Appropriation of Works of Great Artists series.
Working in different mediums, Shishegaran pulls inspiration from Iranian visual culture. He is best known for his dynamism, vigor, and vitality, all of which he combines to create these explosive, expressionistic compositions. In these configurations, he delves into the modern human condition and creates his own painterly language to portray different facets of reality.
‘I am a painter and communicate with line, point, color, and image’, (F. Akhavan, Koorosh Shishegaran, [ebook] London: Opera Gallery 2002, p. 5) claimed the artist, pointing out his ability to apply intellectual freedom unrestricted by the constructs of traditional Iranian imagery. His curvilinear forms remind the viewer that even though his whimsical compositions may seem created at random, they are actually precise and carefully planned out. This juxtaposition of perceived autonomy of form and the actuality of a deliberate arrangement imitate the nature of human action itself. These seemingly haphazard actions are in truth preordained; he determines these elements by giving them place in a causally structured universe.
In the present composition executed in 2005, Shishegaran uses cool blue tones and touches of yellow hues to describe an abstracted figure. Shishegaran cultivates abstraction and brings forth three-dimensional forms through his extensive brushwork and bold colours, conveying a wide range of emotions. In the original tension of being versus nothingness, solid versus void, mind versus body, the movement, momentum, and specious energy of his ceaseless spirals and coils flow through the whirlwinds of imperceptible forms as they twizzle freely in fluid space. Using light and shadow to ravel and unravel through these three dimensional forms, he gives the viewer an intimate look into the intangible world that is his mind.
Koorosh Shishegaran executed two paintings in 2005, titled Red Miniature and the present lot, Blue Miniature, inspired by the fluid lines and smooth colours in Persian miniatures. Shishegaran had appropriated some stylised motifs of Persian miniatures (especially Reza Abbasi) in his earlier works dating from the 1970s from the Appropriation of Works of Great Artists series.
Working in different mediums, Shishegaran pulls inspiration from Iranian visual culture. He is best known for his dynamism, vigor, and vitality, all of which he combines to create these explosive, expressionistic compositions. In these configurations, he delves into the modern human condition and creates his own painterly language to portray different facets of reality.
‘I am a painter and communicate with line, point, color, and image’, (F. Akhavan, Koorosh Shishegaran, [ebook] London: Opera Gallery 2002, p. 5) claimed the artist, pointing out his ability to apply intellectual freedom unrestricted by the constructs of traditional Iranian imagery. His curvilinear forms remind the viewer that even though his whimsical compositions may seem created at random, they are actually precise and carefully planned out. This juxtaposition of perceived autonomy of form and the actuality of a deliberate arrangement imitate the nature of human action itself. These seemingly haphazard actions are in truth preordained; he determines these elements by giving them place in a causally structured universe.
In the present composition executed in 2005, Shishegaran uses cool blue tones and touches of yellow hues to describe an abstracted figure. Shishegaran cultivates abstraction and brings forth three-dimensional forms through his extensive brushwork and bold colours, conveying a wide range of emotions. In the original tension of being versus nothingness, solid versus void, mind versus body, the movement, momentum, and specious energy of his ceaseless spirals and coils flow through the whirlwinds of imperceptible forms as they twizzle freely in fluid space. Using light and shadow to ravel and unravel through these three dimensional forms, he gives the viewer an intimate look into the intangible world that is his mind.
Koorosh Shishegaran executed two paintings in 2005, titled Red Miniature and the present lot, Blue Miniature, inspired by the fluid lines and smooth colours in Persian miniatures. Shishegaran had appropriated some stylised motifs of Persian miniatures (especially Reza Abbasi) in his earlier works dating from the 1970s from the Appropriation of Works of Great Artists series.