Tehran,
No. 18 Shahin (Khedri) St., Sanaee St.
15 December - 1 January 2024
O Gallery presents “Weather, Color and Flesh”, Raha Khosroshahi’s (b. 1376 Tehran) second solo show with the gallery. The collection consists of several medium and large-scale oil paintings on canvas and several smaller works on paper.
Upon first encounter, Khosroshahi’s works represent an abstract combination of color and form. Color and form, the two primary elements of these creations reveal a dimensional aspect of the artist’s subjective world in a cohesive relationship. In most of the pieces, the dominant mode of expression involves the use of intense color contrast, providing a direct and powerful presentation. This contrast and the dimensions of the works eagerly invite and guide the viewer into the artist’s world, a world deeply rooted in her instincts and lived experiences.
Khosroshahi’s obsession with using forms that insist on being formless and without clear reference, speaks of a world that aspires to be unknown rather than known. Her colors, as much as are spread and taking shape, dissolve within themselves, creating new forms—again without reference and apparently formless. Even when they transform into a familiar form, they remain elusive, defying easy categorization as either realistic or entirely abstract.
Upon first encounter, Khosroshahi’s works represent an abstract combination of color and form. Color and form, the two primary elements of these creations reveal a dimensional aspect of the artist’s subjective world in a cohesive relationship. In most of the pieces, the dominant mode of expression involves the use of intense color contrast, providing a direct and powerful presentation. This contrast and the dimensions of the works eagerly invite and guide the viewer into the artist’s world, a world deeply rooted in her instincts and lived experiences.
Khosroshahi’s obsession with using forms that insist on being formless and without clear reference, speaks of a world that aspires to be unknown rather than known. Her colors, as much as are spread and taking shape, dissolve within themselves, creating new forms—again without reference and apparently formless. Even when they transform into a familiar form, they remain elusive, defying easy categorization as either realistic or entirely abstract.
