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"We are not only in the presence of a variable and partial mystery, caused by the presence of clouds and vapors in large landscape extensions, but we launch into a mystery that constantly reigns everywhere and is caused by the infinite nature of things. We do not see ever anything clearly. Every object we look, small or large, near or far, contains within itself an equal share of mystery"( 1).

! John Ruskin ! ! !

The plastic approaches in the era we live discern in its vast majority of the postulates which we were previously used to. The artistic choices in a period of crisis, both in the art market and creative proposals, make the intentions with which confirm their criteria are reviewed every day. Customization of art, "as a single entity", assume the role that the avant-garde has abandoned in recent years. The artwork, increasingly, transfers the inner world of the artist, who, unprotected, seeks refuge in the most intimate and personal: his work. It is not surprising that approaches to inner worlds as we unveil Arita Shahrzad large fields created in the imagination and sensitivity, as fundamentals elements are the engine in a process fraught with significance. I firmly believe, and I am completely convinced that the only artistic truth lies in the behavior of oneself, honesty and rigor of the principles. The work of Arita Shahrzad, questions the basic principles of human existence. Fundamentally, the meeting of oneself in a world impassively see how the human breath is consumed. The cosmopolitan training of the artist (born in Tehran, educated in Geneva and currently living and working in New York) has provided a broad and diverse, rich knowledge on experiences across of all kinds, who, through her imagination has generated, a world of emotions and nuances. Her world is a confluence of cultures, a crossroads of time and space where some of the vital human being problems are revealed. Even though in the beginning, during the years 1998-1991, the figure was the main character of her works, as a transcendent element of the identity search, this has given way to the theme of landscape. Still without existing, its presence becomes latent after the mists. In “Restlessness�, the figure appears implied, hidden behind the mystery. It reveals that behind any vision of the world, there is

something more transcendent. The human form has led to a perception of the cosmos where the vagueness and uncertainty in which we all live, as an integral part of the game, makes calatytic converter. The works currently presented in Sala ParÊs, in Barcelona, define an artist who fights for universal reunion in a communion between man and nature. Her works evoke emotion, poetic, insecurity, power, rebellion, passion... Arita Shahrzad does not reveal to us all the secrets of her works, only hints. She doesn’t want to show a superfluous reading, more on the contrary seeks to reach the essence that she feels. Concepts such as appearance-reality are evident in her work, in which the secret, as enigma of the ancestral, holds its truth. Altogether, her works maintain a coherence storyline. The "series symphonies ", small boxes of timid invoice reveals much more compositional sense, where they are impregnated by a halo of musicality. Their structures are completely harmonious, where light and color as creative forces, as cosmic energy, are erected in the main protagonists. Through the series you can see clearly that a formal division maintains its constancy. A horizontal line may well separate the earthly from the heavenly. The difference of chromatic tonality serves as a dividing line. The stain color subtly placed marks a lost horizon.

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In Tribute to Turner and Nuages the composition becomes more rigid and strong, giving the color very well synchronized explosive force. A structuring that within the purest lyrical abstraction, combines truly with the philosophy of Arita Shahrzad. In the "series of landscapes" the evidence is much clearer. Artworks like Empty Garden, The naked tree , or Angoisse Arbres dans le Bruillard define the meaning of landscape in its clearest mysticism. A landscape where awakens nature wakes, where the mists and fogs suggest the man. An area where the trees are dispossessed of leaves and the bare branches await the fertile force of creation. The artist knows that the tree of life can confer immortality, but it is not easy to reach it. In its broadest sense it represents the life of the cosmos, the regeneration of existence, the growth of life. Landscapes that breath melancholia, sadness, but lots of imagination. As well defined Gaspar David Friedrich "The landscape developed in the mist, incites the imagination "(2 ). And it’s that Arita Shahrzad has that sublime imagination projecting her deepest emotions. A world full of experiences, insecurities, fears, struggles for human existence. But her excitement is full of passion and rebellion, of tenderness and sensuality. Only cares about the purest essence: love and life. Her inner world generates turbulences. In Romantic Evocation, subtlety of color

creates an atmosphere of transparency where vaporous mist pervades the whole work. The modern landscape, understood as such, stops considering the nature as bright and clear way to plunge it into a mystery that is has never clearly perceived. And that is what Arita Shahrzad achieves. A dream comes true over time through the work. A distant dream trying to redeem the universal sin. A dream without limits roaming the world of mortals. Her painting convincingly communicates a sense of identification of the artist with nature, and with nature as a destructive, besides of creative, force. Arita Shahrzad develops an individual sensitivity with which she expresses her inner feelings without respect the theoretical rules or social conventions, and in some cases, challenging them. The artist must "have a strength of character that seems difficult to reconcile with its delicacy”, declared Hawthorne: ' It is to maintain confidence in the bosom of an skeptical world by you with its distrust of the absolute, deal with humanity and himself both with regard to his genius as to the objects to which it is oriented”(3 ) . Concepts such as the limit, the horizon, the infinite, the fog, solitude, memory, the insinuation, are elements that can be found in the work of this young artist. Between the blue sky and black storm Arita Shahrzad, waits in silence, steeped in a creative act, filled primarily with emotion.

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notes: 1 John Ruskin, Modern Painters , Volume IV , Ch III of " Turnerian Mystery" Wileyend Haslsted , New York, 1858.

! 2 Friedrich , GP, Bekenntnisse , Editorial KK Enderlein . Leipzig 1924. ! 3 Honour . H. Romanticism , Alianza Editorial, Madrid, 1981 ! SALA PARÉS . BARCELONA February-March 1993

Joan Gil  
Joan Gil