Tehran,
No. 1 | Zhila St. | Basiri St. | Qolhak | Shariati Ave. | Tehran | Iran
21 January - 21 February 2022
There used to be a strong belief in fortuna up to the last millennium. for 1000 years she has been well tested an trusted. as far as human lived on the earth , belief in god of fortune with any name or shape is been existed. However By middle ages ending, the man started to be the center of his own world, he started to focus on him and the fortune impact almost forgot in everyday life, as for the man he became the absolute responsible for all events and repressed at that. Soon The delusive world of Egos filled the empty place of the forsaken god.
“Casino Aden” could be Assumed as a recall for that key role of fortune and fate while its most remarkable point is a world of mythical signs. Facing this series, you may immediately recognize too many signs and mythical references even the artist haven’t noticed himself, on the other side he’d put many others we may never descry.
the basic materials are bronze and aluminium considered as alternatives for that conceptual function of gold and silver in the ancient days. this imagery duality in forms is the continuation of dualities in content: life and death, sun and moon & …
But as myth is in its nature There is no fixed and absolute symbol here as well. big blind eyes can represent Mesopotamian eyes as much as they can stand for Fortuna closed eyes. Or the arrow passing through the camel’s throat at the same time becomes the captive ring on the ox’s ear as well as the spear in the hand of king-jack-ace.
being captivated by sexuality for any living being is another idea, but still even in this content he can’t hide his extreme belief in fate and fortune. in this world of Egos He does not try to hide his in, insists on every single event to be depended on fate; and if he’s wrong on his manner it’s hard to believe being right.
Fortuna is standing out there, either Superstitious or real -it’s for you to decide- and he is depicting it by all those elements and signs, and when he’s finished, I won’t write about those communicative artworks in detail, because it can’t help but repeating him.
Reyhane Omid
“Casino Aden” could be Assumed as a recall for that key role of fortune and fate while its most remarkable point is a world of mythical signs. Facing this series, you may immediately recognize too many signs and mythical references even the artist haven’t noticed himself, on the other side he’d put many others we may never descry.
the basic materials are bronze and aluminium considered as alternatives for that conceptual function of gold and silver in the ancient days. this imagery duality in forms is the continuation of dualities in content: life and death, sun and moon & …
But as myth is in its nature There is no fixed and absolute symbol here as well. big blind eyes can represent Mesopotamian eyes as much as they can stand for Fortuna closed eyes. Or the arrow passing through the camel’s throat at the same time becomes the captive ring on the ox’s ear as well as the spear in the hand of king-jack-ace.
being captivated by sexuality for any living being is another idea, but still even in this content he can’t hide his extreme belief in fate and fortune. in this world of Egos He does not try to hide his in, insists on every single event to be depended on fate; and if he’s wrong on his manner it’s hard to believe being right.
Fortuna is standing out there, either Superstitious or real -it’s for you to decide- and he is depicting it by all those elements and signs, and when he’s finished, I won’t write about those communicative artworks in detail, because it can’t help but repeating him.
Reyhane Omid
