Tehran,
No. 7, Abdeh Ave. Larestan Street. ,Motahari Street.
26 September 2025 - 6 October 2025
As one of the most important contemporary poets of Iran, Ahmadreza Ahmadi (1940–2023) is best known for his writing, but in the final years of his prolific life he also became an active painter. In the 1960s, he founded New Wave Persian poetry — a movement that played a decisive role in the emergence of modernism across Iran’s artistic disciplines, from cinema to the visual arts. Ahmadi’s poems, powerful and affecting in their simplicity, share the same qualities as his paintings: abstract works that can be seen as an extension of his poetic world and as reflections of his extraordinary sensitivity to the world around him.
For Ahmadi, painting became a refuge from the exhaustion of body and spirit after a long period of illness:
“Painting my watercolors was neither out of diversion nor delight. they were made during the days of complete spiritual collapse that had overtaken me — days of depression when the ground kept slipping from under my feet and the sky’s ceiling had dropped so low it was suffocating me. the watercolors were born and my days slowly became brighter. However strong your reasons to go on living, death is blind and deaf, but lovers’ footprints remain in the snow and do not melt.”
Though marked by an undercurrent of melancholy, Ahmadi’s worldview was full of intelligent playfulness and profound humor. He was always seeking to escape banality and repetition in his art — a desire for exploration that is visible in his paintings. The visual language of his works evokes the same themes of introspection that are prominent in his poetry: dream, love, solitude, and death. Layers of color glide over one another, forming a deeply personal, almost diaristic expression.
Ahmadi described himself not as a mystic, but as a man of wonder — a multidisciplinary artist who, throughout a life brimming with creativity, used poetry, literature, playwriting, and painting to gaze with wonder at the world and to tell its story:
I was you
I spoke you well
for I wore the geranium flowers
my room is white from now on
the vase is now empty
For Ahmadi, painting became a refuge from the exhaustion of body and spirit after a long period of illness:
“Painting my watercolors was neither out of diversion nor delight. they were made during the days of complete spiritual collapse that had overtaken me — days of depression when the ground kept slipping from under my feet and the sky’s ceiling had dropped so low it was suffocating me. the watercolors were born and my days slowly became brighter. However strong your reasons to go on living, death is blind and deaf, but lovers’ footprints remain in the snow and do not melt.”
Though marked by an undercurrent of melancholy, Ahmadi’s worldview was full of intelligent playfulness and profound humor. He was always seeking to escape banality and repetition in his art — a desire for exploration that is visible in his paintings. The visual language of his works evokes the same themes of introspection that are prominent in his poetry: dream, love, solitude, and death. Layers of color glide over one another, forming a deeply personal, almost diaristic expression.
Ahmadi described himself not as a mystic, but as a man of wonder — a multidisciplinary artist who, throughout a life brimming with creativity, used poetry, literature, playwriting, and painting to gaze with wonder at the world and to tell its story:
I was you
I spoke you well
for I wore the geranium flowers
my room is white from now on
the vase is now empty
