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Inheritance of the Roots
TALAAR X FYNDEach form carries a story. Each pattern narrates a journey. Each image serves as proof of being. There is a moment required for art to be created a moment when an object is shaped and receives the signature of its creator’s poetic sight.
This moment is a becoming.
The artist draws inspiration from the past, from thousands of years of creative conversation, moving forward to shape a contemporary vision a vision for the future. From city to city, geography becomes a current that allows us to flow freely between the deep roots of art and design.
These roots are inherited generation by generation, always in motion, always repeating patterns in an effort to become something enduring. An image can be a quiet scene, like a void in nature, or a chaotic scene from the Shahnama. Stories unfold layer by layer, moving along the path. Within every curve, memory waits to be revealed; within every form, history waits to be collected.
There is a hall to FYND a pattern a TALAAR to gather and discover. Each moment becomes collectible: a chance to remember,
to discover, and to inherit the roots.
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Mehrdad Afsari, Untitled, 2018 -
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Awakening an ancient architectural memory, Badguir showcases its multiple points of supports, like blades carried by the wind.
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In The Land of Simurgh
When you take the road from Chaloos, linking Teheran to the Caspian Sea, you soon find yourself in steep-sided valleys, going up through high mountain passes then sliding down through long tunnels, in the chain of the imposing Elburz mountains. They lead on to a landscape of paths of initiation; the snow-covered peaks are lost in the clouds. The ridges and cliffs are dotted with pines so tortured they look more like bonsais. One finds oneself declaiming these lines by Paul Fort: Shadow, like a perfume, descends from the mountain, and the silence is so loud we might think we are dying… The valley then passes between walls of rocky convulsions, tectonic folds and mineral formations reminding us of the exuberant plumes of the Simurgh. Welcome to her domain!
This mythical bird takes its origins in the ancient Iranian legends, in which she is associated particularly
with the scattering of seeds providing verdant foliage. She later features in the great Persian epic, the Shâh- nâme by Ferdowsi (Book of Kings, early 11th century) where she plays a major role at key moments in the tale, coming to aid a new-born prince, Zâl, who was abandoned because he was an albino, or helping at the birth of Zâl’s son, later to become the invincible
hero Rostam.
The Simurgh, whose name also means ‘Thirty birds’, was also famous in the following century, in a completely different context, as she was the target of the quest undertaken by the conference of birds in the marvellous mystic poem set to verse by ‘Attâr
in the late 12th century, Manteq al-tayr or ‘The Conference of the Birds’. Here the search for the legendary bird is seen as a path on the road to spirituality, which only a few can pass. Birds feature prominently in Iranian literature, whether for epic tales, lyric poetry or Sufi mysticism; so it is hardly surprising that Iranian art is full of decorative motifs inspired by these themes, even
after the Arab Muslim invasion. On the stuccos of the Sassanid palaces (3rd to 7th centuries), or on the Samani ceramics (10th century), then later on the pages of illustrated manuscripts, birds are the most frequent animal motif to be found. They are not necessarily easy to identify as a particular ornithological species.
Inheritance of the Roots: Talaar X FYND
Past viewing_room
