900.00 $
Elham Hossein haji
Biography: Elham Hossein Haji, Born in Tehran, Iran. January 19th 1979. Educational background: 1995-1999, Azad University, Tehran, B.A. Art Activities: University Project: Study on rate of creativeness between artists & normal people. Assistant director of Barg Art Galleries Between 1995 - 1999. Teaching children’s painting. Interior Design. Solo Exhibitions: 2001. Solo Painting Exhibition, Barg Gallery, Tehran, Iran. 2002. Solo Painting Exhibition, Barg Gallery, Tehran, Iran. 2003. Solo Painting Exhibition, Atbin Gallery, Tehran, Iran. 2004. Solo Painting Exhibition, Baran Gallery, Tehran, Iran. 2006. Solo Painting Exhibition, Baran Gallery, Tehran, Iran. 2010. Solo Painting Exhibition, Shirin Gallery, Tehran, Iran. Group Exhibitions: 1996. Group Painting Exhibition, Aftab Gallery, Tehran, Iran. 1998. Group Painting Exhibition, Municipality Urban Planning and Research Center, Tehran, Iran. 2001. Group Painting Exhibition, Barg Gallery, Tehran, Iran. 2002. Group Painting Exhibition, Barg Gallery, Tehran, Iran. 2004. Group Painting Exhibition, Baran Gallery, Tehran, Iran. 2005. Group Painting Exhibition, Yerevan, Armenia. 2006. Group Painting Exhibition, Moscow, Russia. 2007. Group Painting Exhibition, Johannesburg, South Africa. 2009. Group Painting Exhibition, Venice, Italy. 2011. Group Painting Exhibition, Imam Ali Art Museum, Tehran, Iran. 2011. Group Painting Exhibition, Elahe Gallery, Tehran, Iran.
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Statement on Elham Hosseinhaji’s paintings.
Her works, I mean Elham Hossein Haji's paintings keep one's mind considering the pain and life by the use of warm colors and the powerful meaning of humans figure. This consideration even in the limited frame of the story is also emphasizing on life and living: the color is pain and the human is, at fault.
Looking at the first and second works, the painter's motivation for making an abstract atmosphere and the colorful backgrounds, show complex she wanted her paintings to be. This complicating is a part of today's human difficult life. Sometimes shows the figure by the vast monotony of colors but sometimes the colors spark just like a fire flame and cause the confusion for mind the way you can decide on story. The surface of color does not represent the depth. It represents the deep meaning, though.
The third generation of her art is more poetic. The figures are more curly and bent; however, the forms shape in the softness of lines and come true. The transformation of figures reminds us of the softness of body that is mixed with pain and suffering. There is a valuable contradiction here: the picture is so smooth the same way it seems lonely and deserted.
We can see the rest logical part of the first and second generation in the third generation of paintings, the one in which human exists. The painter paints people's bodies crumpled and bent the surface of cold colors, which is painted in an exact order always seen in her works. They seem like a treat o figures. Here three forms whether standing or laid, are an energetic surface which cover the whole painting, even if the colorful divisions have an influence on the whole art.
The painter, in the energetic warm exiting and loud colors of the background ,in clouding red and orange, shows a void which emphasizes on the loneliness of the figure. The lonely figure, covered with threads, bends in all sides. Besides not expressing the genders, the softness of the body, reminds us of a female living which emphasize on the beauty besides the harsh lines.
In the fourth generation of painting, the existence of human is close to the third generation far from the transportation of person and the energetic levels of colors in the first and second generation. In such a view the basic instability of painted levels and curly figures ease the constant looking of Elham Hossein Haji’s paintings.
By Seyed Amir Soghrati
Her works, I mean Elham Hossein Haji's paintings keep one's mind considering the pain and life by the use of warm colors and the powerful meaning of humans figure. This consideration even in the limited frame of the story is also emphasizing on life and living: the color is pain and the human is, at fault.
Looking at the first and second works, the painter's motivation for making an abstract atmosphere and the colorful backgrounds, show complex she wanted her paintings to be. This complicating is a part of today's human difficult life. Sometimes shows the figure by the vast monotony of colors but sometimes the colors spark just like a fire flame and cause the confusion for mind the way you can decide on story. The surface of color does not represent the depth. It represents the deep meaning, though.
The third generation of her art is more poetic. The figures are more curly and bent; however, the forms shape in the softness of lines and come true. The transformation of figures reminds us of the softness of body that is mixed with pain and suffering. There is a valuable contradiction here: the picture is so smooth the same way it seems lonely and deserted.
We can see the rest logical part of the first and second generation in the third generation of paintings, the one in which human exists. The painter paints people's bodies crumpled and bent the surface of cold colors, which is painted in an exact order always seen in her works. They seem like a treat o figures. Here three forms whether standing or laid, are an energetic surface which cover the whole painting, even if the colorful divisions have an influence on the whole art.
The painter, in the energetic warm exiting and loud colors of the background ,in clouding red and orange, shows a void which emphasizes on the loneliness of the figure. The lonely figure, covered with threads, bends in all sides. Besides not expressing the genders, the softness of the body, reminds us of a female living which emphasize on the beauty besides the harsh lines.
In the fourth generation of painting, the existence of human is close to the third generation far from the transportation of person and the energetic levels of colors in the first and second generation. In such a view the basic instability of painted levels and curly figures ease the constant looking of Elham Hossein Haji’s paintings.
By Seyed Amir Soghrati
