We’ll Meet at the Resurrection
What does not appear in this collection of artworks, is beyond honest living.
At the Threshold of Knowing Another
In the "We’ll Meet at the Resurrection" collection, the face creates the semantic networks of the painting by changing from a clear and obvious expression to a blurred and distorted function.
The method of coloring and combining materials to achieve discrete, fragmented and distorted faces is an entry into the world of an "other" with unknown and eerie aspects. This entry confronts us with ontological questions. The fragmentation of the significations of the face and the decentralization of the face element in the definition of the face is a new aspect of the “other” remaining unknown and facing a world other than the "facing" world. This other is the same person whom the painter has come to know, not in a narrative and linear time, but in an internal and lived space-time, and has reached the threshold of understanding and knowing "him".
When we talk about time in this collection, we are faced with three expressions of this concept:
First, when the painter has lived an external story, encountered other or others in the story of this story, and this kind of encounter is from a linear timeline, the extension of moments and the method of measuring with a clock are the characteristics of such a time.
The second time is the time that can be the time of inner reflection and sensual time, in this part, linear time has disappeared and any event inside can occupy us for days, months and years, and it seems that the artist of this collection has lived this sensual time for a long time due to the changes he made in the production of the face and the way of facing the face.
The third time, which is specific to painting in general and to this collection in particular, is the time of reading and with the gathering of these three functions of viewer, painter and enunciator. And finally, speech whose purpose is to penetrate into the topic of discourse and adopt a new position with each viewing.
In this third time, all the elements of the previous two times are drawn to “the here” and “now” in the reading, and each time the painting should become an arena for contemplation. On the other hand, the viewer is in front of the painting with all his linear and sensual perceptions, the painter, who has finished the action of color and composition, turns into a viewer for his lived life and finally, an enunciator whose purpose is to penetrate into the topic of discourse and adopt a new position with each viewing. The painter himself has already, as an activist of painting, with the method of spreading color on the painting, distorting the world of the face in order to contemplate the face has become the enunciator himself.
As it was said, the reading and understanding of such a collection leaves us in several narrative times and places and provides us with vast possibilities for understanding the meaning.The painter's enthusiasm in his color finishes, the direct intervention of the hand without a brush in a number of paintings, the amount of color and other factors prove how the painter transforms sensory forces into movement and transforms internal passion into timeless external passion.
Sohrab Ahmadi
