Feb25

The repetition of the colored-dots

  •  The repetition of the colored-dots

As Cheetart news reported that, at the beginning, the collection of "Sama"  is the continuation of the artist's experience in the common form in her field which depends on the repetition of the colored-dots. These colored-dots which appear sequentially in Behzadi's art have been inspired by the style of "Neo-impressionism". However, Behzadi's art has no connection to the manners and trainings of those French painters. Consequently, during these years, the only relationship found in Behzadi's art and Neo-impressionism is the importance of how a painter treats colors. Because she reaches the summits of art visualization only by putting all those colored-dots together. On the other hand, this technique has another importance from a different perspective as well, and that is how an artist treats her painting tools. It means, in these collections of arts, there is a little or no sign of artist's hand or explanatory behavior on the canvas and we are only witness to the central point without having it revealing any of the artist's behaviors or even feelings.

    This technique is not limited to her last art exhibition but it has roots in her previous works as well. In her exhibition, all her works was a combination of her favorite way of working with Iranian decorative shapes of vaults which made the Sama collection.

Previously, Shah Pari Behzadi has been used the geometrical shapes such as circle and triangle. These simple shapes could greatly remind the spectators of vaults but their reference has never been this clear cut. In fact, by combining these structures with the simplified forms of her vaults, the artist came to the conclusion that it's the end of one her adventurous era and the start of one another.

   The word "Sama" is inspired by the sky with the very same meaning as it has; sky. This nomination, also refers back to the "Livid Vault " as well which focuses on circular forms; the kind of form that is special in Islamic art and it is repeated various times, particularly in designing the vaults of mosques that catches everybody's attention. Considering all these factors, that is why the shape of the circle connects straightly to the spirituality. In recent years, the shape of circle has been used by many different artists; Faramarz Pil Aram (rest in peace) is an example of them. In the collection art of this great artist, the structures were drawn based on a big circle and then a group of mixed letters were circling around it.

    The central part of the circle was the the source of light and in some of her artworks the spirituality sense of it was double emphasized. This form was a great reminder of decorative forms of vaults in Iran which were circling around the central part of vaults. The central point sometimes ends to the light blocker of roof which is not only the source of light in the mosque but also a reminder of the divine light.

   Shah Pari Behzadi, in the collection of Sama can be considered as the constancy of this intended art. In fact she lets the spectator refers to the forms of vaults by only using the simple form of the circle. However, the most important point in her arts are the angles. Usually the larger size of her works make the spectators fascinated. In these situations, the spectator pays attention to the deeper layers of art which is its true sense. Hence, Shah Pari Behzadi tries her best to reduce the colored pallet and the range of colors in each painting is limited to one or two colors only, and the rest are all actually a game with different shades of those colors. This operation has two usages; the decorative aspect of each painting is reduced but instead the spectator pays more attention to the structures and forms which are both a kind of endeavor to show the sense of art.

    Anyhow, is the artist trying to invite the spectators to the spirituals? Considering the name and all the other elements, it seems so, but is the form doing the same thing? As pointed out previously, the artist limits the range of colors by using only various shades of one or two colors causes the spectator to see the form and structure overtly; therefore, the invitation to the sense of the art is a failure. On the other hand, regarding the sequentially repetition of colored-dots on circles with the United central points on the canvas, can it be a simplified meaning generally and specifically over the visual focus of the central part of the circle?! If that is so, then the artist was successful enough in the second one but how about the first one? Are the colored-dots make spectators pay attention to the central parts satisfactorily? It sounds that colored-dots are not practical enough this time, and the singular color and the big sized structures make colored-dots useless. Actually from this point of view it seems that, the repetition off colored-dots makes the spectator to remember the artworks of Soniya Ballasanian, the traditional Iranian-Armenian artist, who did not intend to invite people to spirituals by paintings and the repetition of the traditional figures was way more important in her works.

   It seems that, the artist's insistence on one manner and technique made this collection with more architectural forms. This is just a beginning of a new way for this artist. An adventure that must be waited for to see its results.

 

 

 

 

 

 

 

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