issue 8 june

ARTSArt Editor Moriam GrilloIN THE SPOTLIGHTParviz Tanavoli, born in Tehran in 1937, is an Iranian painterand sculptor. He taught Sculpture at Tehran University until1979 and is known as the pioneer of modern sculpture in Iran.His artistic career began in 1959, teaching sculpture atthe Minneapolis College of Art and Design. He was one ofthe founding members of the artistic movement calledSaqqakhaneh. This movement introduced a new visualvocabulary to the art world based on motifs derived fromIranian folklore and inspired by early posters of Shi’i folkart. As its popularity grew in the west, it became known as‘Spiritual Pop Art’.I first came across Tanavoli work in 2006 at the BritishMuseum, where his scalptures, made from fibreglass in a varietyof vivid colours, were displayed throughout the grounds of themuseum. This body of work consisted of three-dimensionalsculptures of collaborative letters initially cast in bronze. Hisbronze work relates to a fascination with locks he has hadsince childhood. His pieces are angular and dense in keepingwith the strength and solidity of the lock.The letters in his sculptures spell the word ‘Heech’ whichtranslates as ‘nil’ in Persian. He feels that his works aresymbols and signs of life in Iranian mysticism, and do notbear any relationship to ideas of emptiness, despair or hopelessness.“In Iran, people tend to quote excerpts of poetry inconversation to emphasise their words,” says Tanavoli .The 11 th century poet, Omar Khayyam, is a source of inspirationfor Tanavoli, and much of his ideology comes from themystical teachings apparent in Khayyam’s poetry and writing.“Heech has multiple layers of meaning – in Persian Sufism ithas a great meaning: God created the universe out of nothing,so if the universe is made of nothing then nothingness iseverywhere, in every part of the universe, in all creatures.”TanavoliHeech in a Cage, created in 2005, was made in response tothe grotesque treatment of prisoners in the Guantanamo Baydetention camp. He also repeated this sculptural piece in2006, in protest at the Israeli invasion of Lebanon.Tanavoli now lives and works in Canada and Iran.MASTERPIECEFarhad Moshiri :Drunken Lover – Jar painting; oil on canvas 2001Ihave had a postcard of this image among my possessionsfor over ten years. It was probably acquired during oneof my visits to a gallery or museum with children in tow,buggy and all, in the days when saturating my consciousnesswith artistic endeavours was extremely high on myagenda. Being at home with young children, art appreciationoffered an opportunity to weather the trials of domesticitywhilst remaining abreast of worldly happenings.This image produced a calming effect and assisted many areflective moment. It helped to quieten my mind and refocusmy thoughts. Perhaps, the words, taken from the eleventhcentury poem by Omar Khayyam evoke a sense of peaceinside the heart of the viewer. The words in Persian alludeto the spiritual state of ‘Fana’; annihilation - a stage in theintangible experience of the spiritual wayfarer on his life-longjourney towards his Lord. A journey from which he consciouslytravels away from other than towards no other. The words,in their silent disposition, speak volumes through the useof calligraphic lines and curves, leading the eye hither andthither across the canvas in search ofresolve.The image, itself evokes thoughts ofantiquity. Although created in the latetwentieth century it appears aged andshows signs of fragility. Perhaps thevessel represents mankind, a humbleconduit from which words of wisdomare transmitted from a higher plane. Iam fascinated that after all these years,each time I look at this image; it is as ifI am looking at it anew. The stark whiteof the background hints at the possibilitythat the jar’s outline was created usinga stencil. It’s a very unconventional wayto work with oils, but a perfect way toproduce the weathered effect necessaryto achieve the final outcome.The words appear to have been addedin between layers of paint. The bestworks of art are successful because oftheir simplicity. This painting is a masterpiece,in my opinion, because it conveysmeaning on many levels. Meanings whichare both visual and metaphorical, andencourage reflection and consideration.Every artist has a message they wishto convey through their work and eachobserver creates a conversation simply byreflecting on what is seen.I find the shape of the vessel attractiveand familiar, resembling amphora ofancient Greece. Its colouring gives it athree-dimensional effect, allowing it to stand tall against thecanvas and independent of its background. It reminds me thatman is made from clay and degrades back to his earlier state,evoking the creation of the Prophet adam (a) ; the first vesselto be given the gift of life. It reinforces the fact that by HisGrace man may rise to a higher state despite his low nature.Containing many materials and references to other artists, itconfirms that only God creates from nothing, saying simply‘Be’. It reinforces that He gives knowledge to whom He wills,and it is this dispensation which inclines each of us to seekto resolve our curiosity. It reminds us that our love for allthings beautiful stems from the reality that He is Beauty andloves beauty. This, in turn, allows me to understand that it isthrough the engagement of the senses we are able to satiateour love of beauty through art.1819