The Subtle Dichotomy and Oriental Vagueness

May 12th, 2003

Iran newspaper, No. 2461

Zhinous Taghizadeh

Amir Mobed is one of the active contemporary sculptors. He has graduated in painting and his dissertation was about Installation.

Space (spatiality), plays a major role in his artworks. The negative spaces and the solid volumes are equally significant. In his previous work that won the third prize of the sculptures Biennale in 2002, he settled his white abstract sculptures on a dark background in a well-planned installation. The negative spaces and the solid volumes were equal. The negative spaces could also be considered as sculptures. The suspended white sculptures formed such one single volume that were not distinguishable each separately. Along with its spatial traits in the volume, it enjoys a considerable visual aspect. It is the playful variety of darkness and lightness, and the subtle shadings which would fade in more lit surfaces that could engender an utterly visual magic; a graphical artwork.  

Amir Mobed has presented a very successful artwork in the new exhibition of contemporary museum of art with twelve thousand white mushrooms covered the green area, attracting all the pedestrians. White spots on the green background is the visual tricky point. 

His new artworks which were presented in Laleh gallery since the beginning of May did not concern spatiality. He is now involved in the sculptures rather than the suspended forms in negative spaces. And now there are (welded) metal sculptures standing on one single wooden pediment. Though seem a bit careless and tasteless and side-tracking, they include abstraction and figurativeness on the same level. There seems to be a concept of symmetry in his works. Two aspects that challenges the balance. It was a matter of negative and positive space, and now it is about the dichotomy of the forms. The whole variety of the works, from the ones resting horizontally on the ground, to the ones stretching upwards or those with curves, although absolutely abstract, seem to be practically and implicitly figurative. Yet they do not remind us of anything. This is what specifies a special characteristic for his metal sculptures.

Mobed does not impose the (Iranian) identity to his artworks. “I am an Iranian, and so is my artwork” he believes. 

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