Sareban Gallery 46453
Number of Sold works 39 Artworks have been sold
Price Range: Between 0 to 36,000 Toman
address: Tehran
. My Tragedy, My Comedy
I just realised that I always have two things in mind and I keep being sceptical about them. People do that I think. Some influences are not absorbed at the moment and we grasp them later because we remember them for their touch. Part of such influences are due to our focus I believe. This is me; looking at both realities and to me, they both worth the same. This is my principle, and this might be where my tragedy and my comedy grows.
Kioumars Harpa
February 2020
I just realised that I always have two things in mind and I keep being sceptical about them. People do that I think. Some influences are not absorbed at the moment and we grasp them later because we remember them for their touch. Part of such influences are due to our focus I believe. This is me; looking at both realities and to me, they both worth the same. This is my principle, and this might be where my tragedy and my comedy grows.
Kioumars Harpa
February 2020
As of today’s meaning of art, human’s primary artistic act must be called as painting, through which Davar Yousefi attempts to observe and consider such archetypal motifs. The scrutiny is the conclusion of years of instruction with an outstanding authenticity. Authenticity is considered as constant returning to self. Such return is not merely exhibited through representing motifs and forms, but through the transition of artistic life along with hard work and perception of being and becoming at present.
The poetic relationship of visual elements with the harmony of two-dimension spaces reminds of ontological view of the artists from this ancient land. A turn from icon to symbol is a historical path in Iran literature which has been neglected in paintings, searching for identity. This collection is considered to be a study which can be developed and it therefore owns a theoretical aspect.
Javid Ramezani
The poetic relationship of visual elements with the harmony of two-dimension spaces reminds of ontological view of the artists from this ancient land. A turn from icon to symbol is a historical path in Iran literature which has been neglected in paintings, searching for identity. This collection is considered to be a study which can be developed and it therefore owns a theoretical aspect.
Javid Ramezani
This collection resembles a different approach towards Persian miniature painting school; Tabriz school in particular.
In 1997, the project initiated based on a new approach and continued as Sacred Secrets. The two-dimension structure of miniature painting accompanied by bright colors, which is habitual in art of Iran, has ushered me to create my own expression in paintings. My works are inspirations from all around, since yesterday.
In 1997, the project initiated based on a new approach and continued as Sacred Secrets. The two-dimension structure of miniature painting accompanied by bright colors, which is habitual in art of Iran, has ushered me to create my own expression in paintings. My works are inspirations from all around, since yesterday.
Those days are over; days with all the excitements and desires and the stares; staring at nothing!
After all the ceasing merriment and hardship, we are now reaching an instant when there is nothing to say, no other way; nothing but gazing at loneliness and fate where there is not much to breathe and things and people are all totall strangers.
Mahmoud Bajelan has studied bet looks and faces for so long and painted them on his canvases. Yet, so as the strangers, he himself is still engaged in the alienation of those days.
Zarvan Rouhbakhshan
October 2019
After all the ceasing merriment and hardship, we are now reaching an instant when there is nothing to say, no other way; nothing but gazing at loneliness and fate where there is not much to breathe and things and people are all totall strangers.
Mahmoud Bajelan has studied bet looks and faces for so long and painted them on his canvases. Yet, so as the strangers, he himself is still engaged in the alienation of those days.
Zarvan Rouhbakhshan
October 2019
Tāgh or Tākh [Haloxylon] is a tree with a robust trunk which fire stands for tens of nights.
Dehkhoda Dictionary
For Nosrati, “Tāgh” seems to be a pretext so as to work on trees. In this collection, he considered beyond a tree and has challenged the verge of abstraction and figuration. They are both trees and yet not trees only; such as elements of nature who, in disguise of historical witnesses, narrate the myth of life. Today, Tāgh might be the saviour of the living desert of ours; free, generous, healer, resistant, warm and life-giving! Nosrati’s tree though lives with impatience and restless, for it is merely an image; an image of the unachievable in which fire we are burning in. The “folding” lines are an emphasis on them being unreal while they are actually the artist’s touches of lines. By moving in between abstraction and reality, he presents works which are not about trees, but they are rather about reality. The trees and lines are both images; it is as if whatever is remained is not what it should be.
Dehkhoda Dictionary
For Nosrati, “Tāgh” seems to be a pretext so as to work on trees. In this collection, he considered beyond a tree and has challenged the verge of abstraction and figuration. They are both trees and yet not trees only; such as elements of nature who, in disguise of historical witnesses, narrate the myth of life. Today, Tāgh might be the saviour of the living desert of ours; free, generous, healer, resistant, warm and life-giving! Nosrati’s tree though lives with impatience and restless, for it is merely an image; an image of the unachievable in which fire we are burning in. The “folding” lines are an emphasis on them being unreal while they are actually the artist’s touches of lines. By moving in between abstraction and reality, he presents works which are not about trees, but they are rather about reality. The trees and lines are both images; it is as if whatever is remained is not what it should be.
The body, is a battle field; a setting for accidents. The body is created, and it creates. It expands; it completes and in some cases it does not. It olds and it dies.
This series is a continuum of my studies in representing the human: the body, as a part of its vast context and its life experiences.
Each painting has formed with a narrative of a drawing, a piece of writing, a photo or video and it later ended with an image of the connection of the body with itself, with the other, with things and the environment.
The expanding lines of figures in the form of abstraction and the narrative of the body parts, is the main reason for creating this collection.
Ehsan Arjmand
July 2019
This series is a continuum of my studies in representing the human: the body, as a part of its vast context and its life experiences.
Each painting has formed with a narrative of a drawing, a piece of writing, a photo or video and it later ended with an image of the connection of the body with itself, with the other, with things and the environment.
The expanding lines of figures in the form of abstraction and the narrative of the body parts, is the main reason for creating this collection.
Ehsan Arjmand
July 2019
I reached to utopia through man, and made it to the home where its aisle might have traced on my recollection a very long time ago. This home, this city, this Neverland simply, and not in sophisticacy, occurs at a separation from the (hu)man. Deprived from everyday tales, pain and helpless smiles, as if engaged in a chaos or not;
that I do not know...
The stone is grown from the crumbled walls; it hears and it comes to existence, it patients, it hands a plant to root, and it is not the hurdle anymore, but rather a path to live in...
Jila Kamyab
that I do not know...
The stone is grown from the crumbled walls; it hears and it comes to existence, it patients, it hands a plant to root, and it is not the hurdle anymore, but rather a path to live in...
Jila Kamyab
It happens very often that by looking at a young painter, relate him to a painter of the past, for a detail, for a particular technique used; but looking at Barilaro's painting it is not limited to this aspect. Through his ability to succeed how to touch the emotional cords, he be able to drag the viewer within a wide universe: his strength lies in his ability to convey all this through the deepest feelings and to propose them in ways and forms more congenial to him. In "Identity of the forms" the compositional inspiration of the young italian painter, his skill to bring us into his depths, meets spontaneously and at the same time harmonious with the gothic traits of the German writer Hoffmann with particular regard to the collection of “The Night Pieces” (1816-1817). The eclectic German gothic writer (also musician and painter) through his insightful novels pervaded by anguish, had the ability to portray through his verses the man in his intrinsic limitation and obsolescence: the subjects told by both become the synthesis and the exaltation of content passes through the acquisition of their narrative identity. Placing the focus in the direction of this aspect is essential, and Barilaro through his emotional tension certainly succeeds in this intent, characterizing this artistic path in a unique way.
Life is a rebelle, along with all sorts of its events and its actors which would dominantly present to us as fate. Overwhelmed by their little knowledge, humans have endangered themselves; their "ration" which keeps promoting them among other beings seem to trouble them and because of their deterministic ration, their termination is inevitable.
Such as justice, the sun seems to be setting at such dark hour I am living in. The indecisive human in the dark, seeks for light. Though terrified by the warmth of the fire he/she have lit, they rise up to search for a shadow. One hides his/her little knowledge behind the many words and to cover his/her ignorance, he/she keeps dreaming and having fantasies and alters the definition of what he/she does not know and still, keeps thinking of evolution on the way.
Is the endless confusion in such rebellion resulting from wisdom?
Such as justice, the sun seems to be setting at such dark hour I am living in. The indecisive human in the dark, seeks for light. Though terrified by the warmth of the fire he/she have lit, they rise up to search for a shadow. One hides his/her little knowledge behind the many words and to cover his/her ignorance, he/she keeps dreaming and having fantasies and alters the definition of what he/she does not know and still, keeps thinking of evolution on the way.
Is the endless confusion in such rebellion resulting from wisdom?
The Story of Shirin
Iradj Eskandari is an artist who turned to social and figurative painting while he was greatly influenced by masters such as Bahman Boroujeni during the revolution. His mural paintings resembled themes of Iran-Iraq war and revolution which are still remembered by many of us. By concentrating on the history of modernist painting, during 90s, he experienced abstract painting. Because he was keen on the ancient history of Iran, thru studying ancient motifs and themes, he began to create symbolic works in the next decades.
The Story of Shirin, is formed in accordance with his approach in combining and merging principles of modern art with Iran’s symbolic motifs which includes a meaningful paradox between visual narrative and the applied materials and techniques; stylization of famous Persian literature in forms and geometrical compositions along with absolute modernist mono-color with rough materials and a complex technique seems to be an amazing tale that refers to the story of Khosrow and Shirin or Shirin and Farhad. Nonetheless, it represents other implicit indication as well; a sweet story of a lifetime painting to conflicts between the delicacy and roughness of life.
Zarvan Rouhbakhshan
November 2018
Iradj Eskandari is an artist who turned to social and figurative painting while he was greatly influenced by masters such as Bahman Boroujeni during the revolution. His mural paintings resembled themes of Iran-Iraq war and revolution which are still remembered by many of us. By concentrating on the history of modernist painting, during 90s, he experienced abstract painting. Because he was keen on the ancient history of Iran, thru studying ancient motifs and themes, he began to create symbolic works in the next decades.
The Story of Shirin, is formed in accordance with his approach in combining and merging principles of modern art with Iran’s symbolic motifs which includes a meaningful paradox between visual narrative and the applied materials and techniques; stylization of famous Persian literature in forms and geometrical compositions along with absolute modernist mono-color with rough materials and a complex technique seems to be an amazing tale that refers to the story of Khosrow and Shirin or Shirin and Farhad. Nonetheless, it represents other implicit indication as well; a sweet story of a lifetime painting to conflicts between the delicacy and roughness of life.
Zarvan Rouhbakhshan
November 2018
Jamshid Haghighat Shenas Solo Painting Exhibition
Savalan’s figures represent semi-human lumps, silently residing and wondering in the middle of of a field of nowhere. They seem to be portraits at a glance, though they may fade away all of a sudden. Vague masses in an unknown misty geographical situation, under a timeless gentle light evading from any signs that reveal their reference; both for those who are totally unacquainted with the masses and those who seek pale traces of the mythical, historical Dāshbaba legends. Such imagery solely represent an apocalyptic scene; all significations are lost. The scene is exhibiting a momentum stands still just before, or right after the catastrophe.
It is the viewpoint of a subject which creates a narrative by creating casual connections between events. The artist’s point of view is not subjective; nor does he tend to create a narration for the audience by perusing relationships and semantic casual connections between the figures and the scenes. He does not put the question here, he is wondering along with us, staring at the shattered scenes and seeking the lost narratives.
Foad Najmedin
August 2018
It is the viewpoint of a subject which creates a narrative by creating casual connections between events. The artist’s point of view is not subjective; nor does he tend to create a narration for the audience by perusing relationships and semantic casual connections between the figures and the scenes. He does not put the question here, he is wondering along with us, staring at the shattered scenes and seeking the lost narratives.
Foad Najmedin
August 2018
