Sculptures made of Iron, Wood and Hair. The composition introduces three different materials. Novel and expressive concepts encourage the audience to actively participate. In his recent investigations, Amir Mobed has made sculptures with their own identity that look more appropriate than ever in the area of Iran’s Modern Art. In addition to sculptures, he has created installations, using various materials: plaster mushrooms, burning skeined-balls, metal angels, apples with hair and tissues, (installed) candles on asphalt and piled flowers on the soil and mirror and a view of ice, and climbing wooden stairs. Along with other experiences in photography and digital art, the wide range of materials encouraged him to use the recent three, in making the sculptures. This rather notable performance could be a climax in the collection of his artworks. The ongoing experiences in this path has reached complicated, dynamic, refined sculptures which might remain an experience only in the form and space on one hand, and shed too much light on the content for times, on the other. Mobed has used iron which is a natural element, wood which is related to trees and plants and hair, which belongs to human. He applied iron to indicate aggressiveness in general, yet supportive in particular; the wood looks like stems with thorns, and the hair, seen between the spaces or curled in some. The visual impact of the sculptures shapes within two simultaneous yet different ideas: they are both sarcastic and aggressive at the same time. Sharp edges, along with curves and a soft and delicate surface. Both masculine and feminine, manifesting the inner and outer side. The dominant grotesque attitude has made their new expressive aspect more outstanding. Mobed’s sculptures contradictarily demonstrate violence and delicacy in the shapes and materials at the same time. The collection reminds the audience of stories such as Scheherazade and One Thousand and one Nights and Sindbad because of the turban and shoes. They have elements of stories accompanying them without being an actual illustrator. Sculptor’s genderistic hints have promoted the function and the definition of the materials. Applying all three materials in all the sculptures however, might not seem to be necessary and some still have their expression without the materials.
Mobed has opened a new window towards sculpture. A window, though eastern, does not apply explicit motifs and demonstrate the dialectics of positive and negative spaces and ways of spatiality by materials, in a new fashion/sphere. His installations in conclusion, represents his curious mind, along with maturity and depth. Because he had not named his sculptures previously and therefore emphasised on the form rather than content, naming the sculptures, although some irrelevant, is also another step forward. Amir Mobed has proved himself to be an avantgard sculptor in his experiences. I cannot wait to see his future sculptures.