Tehran,
No. 7, Abdeh Ave. Larestan Street. ,Motahari Street.
2 February 2022 - 11 March 2022
Behzad Shahravan (B.1991, Tehran, Iran) holds a BFA in Graphic Design from Soore University. He creates his pieces without limiting himself to traditional art forms, and uses video as his medium to create visual and audible designs; and with using sounds and images, he invents his own artistic language. By looking at memories, society, and culture, Shahravan creates stories; a narrative that aims to explore and convey his emotions and intended concepts.
In the collection “The Blind Owl” he aims to reconstruct parts of the beauty of past events and the memories that remain in a space. He has created his work by photographing many pictures of Sadegh Hedayat’s house and recreating these images. This collection is a reminder of his childhood memories that are associated with some concepts and images in his mind; mental images that are intertwined and unclear, and although they seem like they lack narration, the viewer can conjure and dream up the narration of this place they have never seen.
The photographs have only captured the outer parts of the house, such as the outer walls and the courtyard; and with not entering inside, the artist aims to come close to the heavy shadow of censorship that was weighing on Hedayat’s life and to portray his immense isolation and solitude.
Shahravan has used digital technology to create abstract images of the real world, images that fracture and are tangled in each other, finally weaving together reality and the artist’s mental plain.
In the collection “The Blind Owl” he aims to reconstruct parts of the beauty of past events and the memories that remain in a space. He has created his work by photographing many pictures of Sadegh Hedayat’s house and recreating these images. This collection is a reminder of his childhood memories that are associated with some concepts and images in his mind; mental images that are intertwined and unclear, and although they seem like they lack narration, the viewer can conjure and dream up the narration of this place they have never seen.
The photographs have only captured the outer parts of the house, such as the outer walls and the courtyard; and with not entering inside, the artist aims to come close to the heavy shadow of censorship that was weighing on Hedayat’s life and to portray his immense isolation and solitude.
Shahravan has used digital technology to create abstract images of the real world, images that fracture and are tangled in each other, finally weaving together reality and the artist’s mental plain.
