The Silent Saga exhibition is the title of Peyman Rahimizadeh's solo exhibition held on October 15th until October 24th 2021 at Mojdeh Art Gallery. All works are a combination of materials on cardboard. The title of the exhibition, itself is an introduction to stillness and silence, is taken from a film titled The Ballad of Tara, directed and written by Bahram Bayzaie. The statement of this exhibition is based on a depressed voice and a kind of darkness that casts a shadow on the field of wisdom. The black color of all the works and the feminine faces that Rahimizadeh has used in his works, along with other elements such as mirrors, nets, etc., show the desire of these portraits to escape from blackness and enter the glorious field of wisdom. In fact, if there is blackness, the way out of it is shown by the painter himself (by adding an element such as net and mirror). If blackness dwells in the field of wisdom, the mirror is still a reflection of wisdom, and even though the wisdom of self-interest casts a shadow on wisdom, wisdom opens its own way and leaves. The stories of many women portrayed by Rahimizadeh are also like this: no blackness from history and centuries can block their way, in blackness they find an element to light and find their way, and with the help of this element, they move forward and leave the darkness behind, they don't stay silent.
Where the darkness casts shadow on the space of wisdom and inequality is a scale for evaluation, there will be nothing left but the subdued whisper of light.
The voice of freedom and being that sits on the anxious, covered and mutilated gaze is as an epic poem that has been sterile since the beginning of singing.
A review of Peyman Rahimizadeh's works
Silent like women suspended in the dark, with closed mouths, narrative eyes and eloquent hands, locked with thread and needle... The first feeling that the audience receives when facing Peyman Rahimizadeh's works; It is a long silence with frozen and fearful ambiguity. What flows into the audience from the eyes of the women in his works is more than a few unspoken words. Untold stories that are transmitted by looking at the movements of their hands, hands that are sometimes hidden under the cloak, trying to hide a shocking or bitter event, so hard and heavy as if even the mirror cannot withstand this amount of suffering and injustice and is destroyed under their questioning look. Rahimizadeh deliberately changes the presence of the eye’s materiality in the sense of wisdom and awareness with superficial concepts such as innocence and chastity in the form of petals or cloth blindfolds in his works. He mocks the wrath and reflection of judgment by passing an arrow through a bitten apple as the first sin of Eve. The thin and broken threads, which at first glance promise liberation and freedom, become a symbol of loose stability, which twist like eternal anxieties between the fingers of the women in Rahimizadeh's works. It is as if a silent saga will be whispered in their ears forever.