Culture & Art

Migration in Painting

- When and how did you start to paint? 

I started in 1996 when I began to study at the University of Tehran. I can however say that painting has becoming something more serious and a stronger commitment when I left the University and the Academy.

- Can you tell me about the focus in your paintings?

Probably I could say that the focus of my painting practice is related to the possibility it gives me to work around and about identities starting from real spaces. In my work I usually start from locations that exist physically and that I try to change, to fill up or to empty in order to create something that at the end comes out completely transfigured. In this way I think I am able to give a comprehensive significance, at least for me, to the continuous change of identity, to the constant twisted dimensions that are the basis for the construction of the self-hood. This is the central idea of my artistic practice, as a constant element in my works although expressed in different forms.

- How would you define the sense of migration, both physical and emotive/mental?

I define it as a human right. Every human being should feel free to move around the world. If it was, I believe that from every migration could born a pleasant and happy story, although difficult and non-linear. But I do know that is not the case. There are absurd rules and useless borders that we invent constantly. Thereby, the migration cannot become other then what we see nowadays thus a reaction to desperation. All this in-side burden that is accompanied and added to the objective complications, leads inevitably to a deep sense of emptiness that someone fills up with something he has on his disposition such as nostalgia and identity problems.

When identity becomes a problem that you are able to solve, then that nostalgia turn into poetry; but if you are not able, the difficulties become serious. This is the risk: to remain in a sort of unclear state between the past that you miss and the present in which you constantly ask yourself who you are and who you will happen to be.

- What is the painting practice for you?

I start from far away saying that painting for me is a gesture or an action that accompanies me since my childhood in which I found pleasure. That kind of pleasure went and goes with me until now, although the intensity and the importance obviously changed a lot. Now I know that in my painting practice I search a sense of balance, as in the real life. But the sensation that painting gives me it's surprisingly really close to the original pleasure.

About The Author

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Veronica Posth

Veronica Posth studied History of Art at the University of Glasgow (UK) and Florence (IT) specializing in Contemporary Art and Modern Museology. After some years working in a contemporary art gallery in London and collaborating with a creative association promoting Contemporary-Urban Art and Electronic Music in Florence, she gained a Master in Exhibition Design and Curatorial Studies between Florence (IT) and Berlin (DE). She lives and works in Berlin as independent curator and art reviewer. Her main interests are related to contemporary art, dance and music.