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Iranian Art Khak Gallery
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Shariati Ave. IRAN TEHRAN
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Writen By Sina Dadkhah


We suddenly enter to the land of myths and stories and a powerful hand is turning pages of history. From “Kelileh & Demneh” to “Shahnameh” and \"Sa`di\" fictions. Incredible perspectives capture and inspire us. What remains of this struggle between artist and artwork is the image of eternal fight between human and nature. Passing among fire. Fight between whale and the holy prophet. Struggle with an evil who represents the dark side of nature. Human survives this battlefield and reaches to everlasting peace with nature. A peace which can be seen in Aleen’s two paintings of rooster and peacock.

 Skillful touches of artist’s hand which remind us of  “Siahqalam” and “Moeen Mossavar” (Iranian painters) finally reach to peace with nature. As if these motifs are supposed to depict eternity, an eternity which has been engraved on a wooden stamp like drawings on prehistoric caves’ walls. Form and idea get united. If we claim historical originality, our materials should have a sense of originality. “Qalamkar” fabric and wood. The artist‘s fingers has engraved the struggle between nature’s forces and human and his ultimate victory in an elegant way.

 When we see creating process of the last painting as a three-act play, the peace-making passage from dark corridors of history becomes more obvious. First act is a sketch with prominent, curvaceous lines in simple colors. The next play is just a wooden stamp  and in the last play we only see the stamp being soaked in ink and printing the motifs on \"Qalamkar\" cloth. This is the point from which you can overstep \"traditional\" art boundaries and call this collection an attempt to seek fundamental roots of \"history\". History has only one meaning; a struggle with a will to conquer the \"Other\". Mehdi Hosseini\'s artworks are simply expressing this idea.