Hamze Farhadi realism in paintings & sculpture explores a dreamlike world.
Hamze Farhadi Born in 1982. Painter – Sculptor -Architect. Azad University of Tehran – Faculty of Arts and Architecture.
Brecht Regards Crime Drama( Crime Exhibition) As A Sort Of History, Where Mankind’s Inter Animations Or Events’ Occurrence Come In Terms With Its Own Most Critical Status. Yet Why Would Not The Spectator ,In Such A Critical Situation (Of Theatre) , See Anything Apart From Reality? And Why Does Crime Always Remain An Enigma?
During These Years Of Working With Petroleum Issue , I Have Always Been Confronted With Horrifying Realities. And Whenever I Have Disclosed These Realities ,Un Avoidably, I Have Encountered With History Wall. Yet This Turn, I Have Tried To Near Such An Issue Taking Advantage Of Another Gest : Gests Deriving From Each Of Ours’ Under-Layers; That Is, Whether They Are
Intentional Or Accidental ! Finding Out Gest And Behavior Significances , As Episteme Factors, Is Not Something Fresh.
In Visual Art , We Approach What Is Intended Epistemologically Throughout Gest Patterns : I Strived To State Something About Petroleum Semantic Relationships With Identity , Hegemony ,And Power By Making These Several Pieces As Well.
When The Works Were Made , I Realized That Finding Out These Relationships With My Mental Subject Is Not So Overt As It Has Not Been Left Covert As Well Although I Cannot Hide My Zeal Of Exhibiting Such A Of Plenty Concealment.
Hamze Farhadi
In the “word” paintings Hamze expressing immediate emotions deliberately to convey them. Certain words have universal and visceral connotations and he compelled to put them in sculptures form or on canvas.
There is also a time-based quality to the physicality found in his work. Each piece is created over several months, using layers of polymer mediums between layers of mark-making.
They Could Be The Illusory Emblem Of Things That We, As Khuzestan Natives, Think About The Oil But Not Peaking About.
Two Edges Of Happiness And Misery.
This Collection Is Look Like A Self-Learning For Me. I’ve Learned That You Can Follow Your Artistic Way With Various Answers About A Single Question. You Just Should Defamiliarize From Primary Quiddity, Or We Try To Not To Capturing With Its Inevitable Meanings.
My Inspiration Is The Heritage That Inherited From Oil Industry And My Family Memories. I’ve Just Pulled Out These Trophies From Warehouses And Have Struggled For Some Years.
They Became To Creatures That Have Inherent Beauty And Also, Once Upon A Time, Have Technical Performance. Their Present Silence Is Full Of Past Seethe. They Are A Form Of Mentioning A Culture That Changed With Exotic Instruments. They Could Be Some Portraits Of People That Are Just Looked Like Me!
2022- Farhadi- Untitled — Oil on canvas
By working across multiple pieces at one time, documenting and recording experiences, memory and emotional responses to the subject means that what lies beneath is sometimes subdued or intentionally hidden. Hamze compelled by what might be revealed and obscured by this approach. These compilations, with imagery and text sometimes masked, develop over time. Marks made today require a response to the mark of yesterday.
He said: “During these years of working with the issue of oil, I have always faced terrible realities, and whenever I have split these realities, I have had to hit the wall of history. This time, I tried to approach this issue with a different gesture; Gestures originate from the layers of each of us. It means whether they are 100% intentional or completely accidental! Finding the signs of gesture and behavior as factors of cognition is not a new thing.
In visual art, we approach the epistemological meaning of what is desired through gesture patterns; I also tried to say something about the semantic relations between oil, identity, hegemony and power by making these few pieces.
When the works were made, I realized that finding these relationships with my mental subject was not so obvious, nor was it hidden.
Still, I can’t hide my eagerness to show off all this hiddenness”
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