Tuesday 28 December 2010 - 12:45
works of RAHIM MOLAEEAN/
Toward the Open Horizons
By: Ahmad Navardamouz
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| Artna: A creative work of art will engrave its seal and trace in the heart of time. |
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By: Ahmad Navardamouz
Translated by: Reza Asadifar
You will reveal my secret by turning me over
"Mehdi Akhavan Saales"
The present article is an overview of RAHIM MOLAEEAN's several periods of painting. Although these periods are distinct, one is the outgrowth of another in a sequence of a mental/experimental trend which is governed by a conscious ambience and sometimes an unconscious one. However, the common foundations in most of the works have provided a base which makes them all kindred and related in the preceding and latter periods. Therefore, it seems that the interruption of the periods from one another is the result of applying technique and the circumstance of formic experience; otherwise, there has always been a unique beyond-logic element involved to exhibit a world which is lived by the painter.
MOLAEEAN's artistic record denotes some experiences which are essential for the contemporary artist's transition from its insufferable eminences. Each of the periods narrates a perspective in life while ingeniously applying a technique in accordance with setting and the encounter with the inner and outer worlds which itself reflects his artistic concerns.
The abundant and various presences of visual images [in his works] enter the numerous realms of a universe which complement one another just like a jigsaw puzzle. The lines and patterns denote a reality which has given the painter's life a symbolic base. It draws his past and present on canvas inalienably through the multitude appearance of colors.
His drawing genre implies the same universe which tends toward an unconscious mystification; and this is the opportunity that life presents to a pre-modern human who is aware of the aspects and accomplishments of the modern world, yet unaware of its essence and philosophy.
This is an act in limbo, not totally detaching from tradition nor merging into modernity; and this does not depict the feature of a painter or an artwork. It is the destiny of a generation which is in transition.
Where does an artist truly come from? From where you are; from where you live. Yet, he is the familiar soul of the entities and phenomena in his world. Although his eyes glance at the surface of the entities just the same as other peers, he is watching the magical juice of the universe in his profound extensive imagination and experienced mentality. He differently draws the little elements of the existence in a historical-mythical process in order to expose the flux of the universe to the audience in the hidden lucidity of substantiveness.
The unreality of space, patterns, and even the scales are among the factors that reflect the painter's imaginary attitude. The illusory arena of this universe can be regarded as Chaos. The issue of Chaos has long been known in the World of Art. It always accompanies the person in his artistic life and has different-in-form appearances.
Human being is at the center of RAHIM MOLAEEAN's works. Hands and faces are two prominent elements in his works as well as the pomegranate which symbolizes abundance, generation, femininity, and eternity. Human explores his ancient and mythological definition in these hands and faces. From this perspective, a stream of nostalgia representing a historical agony is depicted in his works.
Besides accentuating the hands accompanied by cold, still and sometimes baffled faces an atmosphere of grotesque themes is hidden [in his works]; nonetheless, some of the works are turned into a pure metaphor. With all clarity and apparentness, the works say nothing about themselves and wait for you to speak of them. Such works form a solid coherent collection which is concrete as much as it tends to be abstract.
What is the artist truly looking for amidst the stillness and extremity of colors? Which rider is he waiting for among all these colors, lines, and patterns on the canvas? Whose destiny is he painting? Each of the infinite figures excerpts a world; and when you behold and hear all, you will come to an image: RAHIM MOLAEEAN _ a seeking artist who eventually retrieves his own visage. This seeking and retrieving is not to deplete all the works into one single image but to let the artist step beyond his own works. One who does not get stuck in lines, patterns, ideologies and styles will eventually establishes himself on top of all the traversed paths and lived spaces just the way it is deserved.
Time passes ruthlessly and in this inevitable pass through the incongruity of grief and delight, name and status, temptation for fame and inevitable and occasionally avant-garde loan translations, some dire straits appear. However, a creative work of art will engrave its seal and trace in the heart of time.
In this arena, the human's opponent is also nothing but time. Time is a devouring monster wolfing you down unless you find a link to stick to; and art is the strongest link between human and existence: a predicament which demonstrates its essence in its abstract lucidity. Thus, works of art will carry this feature of enlightening the dark heart of time as their immanent feature.
Although the great symphony of the modern age is made by the metaphysical cognition, the interpretation of human world, particularly in the realm of art, is involved with a sort of comprehensiveness beyond logic. It is due to the fact that the contemporary artist's بوطیقا is an anthological case. Human cannot ignore the most ancient symbols and samples of cave-dwelling even when he is living by the modern achievements. Therefore, the artist uses the scales, structures, composition and other classic principles to discover modern relations and takes advantage of Dionysiac destruction without falling in arty dereliction. However, the modernistic certainty in MOLAEEAN's works will show itself here and there in an artistic cognitive ambience, formic foundations, and precise paint-laying.
The recent works of RAHIM MOLAEEAN indicates the course and formation of an old mental/experimental trend which comes to a resting end. It is a status which lacks the tensions of the previous periods. In these works, the painter leaves the status of having full cadres and cluttered images resulting in mental convulsions, fatigue and dizziness and has the minimum usage of colors. Most of the works that belong to this period are accompanied by tonality of two colors which itself states the clarity of his mental impulses. It is the relief which results from the fluidity of experienced and promising moments in voyaging through the undiscovered and folded horizons. However, this voyage has had profound contemplation and intermission. It seems the works are disengaged from the techniques which presented themselves in the previous periods, and the painter has created works, without clear application of learned techniques, which reveals the creation and creativity trend while staying away from construction and exhibition.
The aesthetics of these works is itself the outcome of combining surrealistic and symbolic trends as well as expressionistic violence _ an unexciting and quiet expressionism. The faces cry in their quietness and impassivity _ these dragging cries do not end in themselves. Another characteristic of the painter's recent works is a sort of boredom which can imply the worn-out status of the contemporary human. However, love and death are the two fundamental elements that can be taken out of the deep colors and bored faces. It is a contrast which is not specific to an individual or a period but indicating the immanent feature of human beings. It's a feature which depicts its life-giving and ontological quality.
From one period to the other the execution of paintings became simpler and the colors got segregated which expresses the transition from chaos to cosmos. This trend toward order never gets close to realistic frames; but in terms of elements' composition and space formation, it brings a concept to the mind which leaves the audience in a distant mythical space.
The technical aspect of the work in the recent period sometimes seems to have decorative configuration; however, one cannot lower their position to the level of decorative works. The formic tricks here are serving the content whose traces are visible in the artist's works throughout his different periods of work. These periods are sometimes recognized for their direct loan translation which is doubtlessly inevitable in the formation of the artist's vision and his skill in presenting the works.
Another aspect which helps us approach to the field of contemporary considerations is the beyond-gender look of the works, and this is one of the reasons for being aligned with the definition of the social norms in the current period even-though breaking the border and dimension of time and location will lead the works beyond the modern time and turbidity of history and myth.
The interaction of faces and hands with ambiguous and multifarious elements like pomegranate converts the modern presence of the work to something with mythical features. This collects MOLAEEAN's works and makes them concentric.
The tendency to remove the linear narration which is mostly observed in mythical symbols indicate a circle which gathers concentric circles in itself and pictures the ontological movement of images. It is through this view that the artist deconstructs the current issues of the public culture in presenting his works one after another and through one period to the other. Lack a particular trend or concept forewarns the audience from a direct interpretation instead of making the work incoherent and obscure. It prevents the mind from making bore some narrations. This is a case which takes the audience's share in interpreting the works serious and paves the way for artistic democracy.
Aesthetics and uncertainty in the field of artistic mysticism accompanied with the fluidity of vision is the pulse that has taken the works out and given them several forms in the framework of a canvas. This aesthetics and uncertainty display themselves in the hands and faces, and at times the pause which exists in the vision toward unidentified horizons _ with multilateral structure _ can aim for the certainty which diverts the work from organizing fluidity to getting stuck in modernistic frameworks. However, parallel to this clear prevailing element it is possible to trace once more the passing trend from evolutional line and sublime vision due to the fact that the works rely on their own self-exhibiting nature. The elements and techniques are gathered to express the meaning of being contemporary and simultaneously present the surrealistic delicateness and vagueness together with the silent expressionistic violence. This represents the philosophical attitude and devotions of the person who has stared at the ontological horizons and existentially challenged his surrounding world.
Painting Exhibition of RAHIM MOLAEEAN Open on Friday January 7, 2011 at 4:00 to 8:00 pm in Seyhoun Art Galley.
This Painting Exhibition is named “Toward the Open Horizons”.
Note: The exhibition will remain open until January 19th
Address: Vozara ave. 4th Street # 11, Tehran/Iran
Tel : 88 71 13 05 - Fax : 88 10 24 22
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