Mohammadreza Khalaji’s sculptures personify an escaping alternative individual, bearing all the marks of the dominant template. The bodies are reduced to legs, and the third leg’s vague existence resonates the tendency to derogate the limits of the cast. However, none of these bodies has the chance to escape this imposed prototype. Man and woman, standing or fallen, upright or upside down, are all captive in a fixed, inflexible cast which –with reference to a flamboyant tradition and culture- does not provide an answer or alternative; it simply issued a verdict and considers it as binding.

Zarvan Roohbakhshan