Jingart 2022: Sanam Sayehafkan and Parham Ghalamdar
Questioning identities and their directions while exploring socio-political topics
related to their home country, Iran, both engage their concerns through the
involvement of politics and ironies in our everyday human life.
In his most recent works, artist, Parham Ghalamdar has used a variety of
techniques such as digital and paper-based sketching, drawing, video, and painting
to extend his studies of subject matter drawn out of some of his intricate everyday
observations.
Describing his general practice Parham explains: “My overwhelming concern is that
painting is about perception and perceptual existentialist ways of experiencing life.
This task is carried out by paying attention to the surface and employing painterly
tools to create complex layers of paint to present a stretched spectrum of paradoxical
qualities: soft and rough, thin and dense, immediate and distant. ”This approach is
employed to offer tension to the surface in order to oscillate between paradoxical
poles, anticipating that the result would be an invitation to look and observe.
Following his studies on the idea, He explains: “That is the space where my paintings
happen – a restless struggle to find a reason, order - and above all discipline.”
Sanam Sayehafkan looks to art history and contemporary world literature to create
stories with imagined, multi-dimensional, and deceptive narratives in her work. In
these timeless painting pieces, she presents narratives of vague stories in seductive
spaces to the viewer and traps the viewer within the intertwined narratives and
endless exploration.
The storytelling in her paintings have hidden meanings that create various concepts
in the viewers’ minds and create further confusion, thus the lack of integrity prevents
the viewer from making any predictions. Sayehafkan is inspired by the storytelling
structure of contemporary literature and the stream of consciousness mechanism, and
also the works of Kawanabe Kyosai, Theodore Gericault, Kerry James Marshall, and
David Salle.
Questioning identities and their directions while exploring socio-political topics
related to their home country, Iran, both engage their concerns through the
involvement of politics and ironies in our everyday human life.
In his most recent works, artist, Parham Ghalamdar has used a variety of
techniques such as digital and paper-based sketching, drawing, video, and painting
to extend his studies of subject matter drawn out of some of his intricate everyday
observations.
Describing his general practice Parham explains: “My overwhelming concern is that
painting is about perception and perceptual existentialist ways of experiencing life.
This task is carried out by paying attention to the surface and employing painterly
tools to create complex layers of paint to present a stretched spectrum of paradoxical
qualities: soft and rough, thin and dense, immediate and distant. ”This approach is
employed to offer tension to the surface in order to oscillate between paradoxical
poles, anticipating that the result would be an invitation to look and observe.
Following his studies on the idea, He explains: “That is the space where my paintings
happen – a restless struggle to find a reason, order - and above all discipline.”
Sanam Sayehafkan looks to art history and contemporary world literature to create
stories with imagined, multi-dimensional, and deceptive narratives in her work. In
these timeless painting pieces, she presents narratives of vague stories in seductive
spaces to the viewer and traps the viewer within the intertwined narratives and
endless exploration.
The storytelling in her paintings have hidden meanings that create various concepts
in the viewers’ minds and create further confusion, thus the lack of integrity prevents
the viewer from making any predictions. Sayehafkan is inspired by the storytelling
structure of contemporary literature and the stream of consciousness mechanism, and
also the works of Kawanabe Kyosai, Theodore Gericault, Kerry James Marshall, and
David Salle.
