Welcome to Khak Art Gallery
Iranian Art Khak Gallery
Visit Us
#1 Jila Alley, Basiri St. Gholhak
Shariati Ave. IRAN TEHRAN
TEL: (0098-21) 22 60 54 65
OFFICE VILLA 21, 4B ST. , AL HUDAIBA 322 - MARSAM MATTAR ART CENTER Dubai - United Arab Emirates
All Rights Reserved by
KhakGallery @ 2020

Mahsa Karimi Zadeh’s volumes are images of the world, big world and small world. ( فارسی )


Date Jan.28 , 2011-Feb.16 , 2011

About Mahsa Karimi Zadeh’s works By Ali Etehad: Mahsa Karimi Zadeh’s volumes are images of the world, big world and small world. Although apparently the idea of equivalent from of the notion of the universe with micro-worlds, Micro-cosmos is considered contemporary, for a fellow artist is an ancient supposition. According to the ancient Iranian wisdom, macro world and micro world are similar examples but in different sizes. It is possible to study this supposition by morphophonemic of an example of terminology in this area. Today G+A+T+ IK=GATIK which in Persian has the evolution to the world, basically means “huge soul”. Concept of this native combination distinguish that we are “tiny soul” and the world is enormous. But there comes a question:”If micro-world is a kind of subset for macro-world, how could it have an independent identity?” According to our viewpoint, this theory is related to another world that was mentioned. Narrator always cognize her own world, an independent one and notice the other “strange” or even nonexistent. Review in your mind the story of ”Horton hears the voice of Who!”[Written by Theodore Seuss Geisel,1954 ]. Horton who is an elephant in the forest, at the moment of diving to the basin hears a shout from a particle of a soil. This shouting will be the cycle of communication between Horton and the world which is located in the soil. This world is equivalent with one who is familiar for Horton but in a tiny scale. The fantasy of “Horton hears a voice of Who!” is an example of nested world’s pattern. Fractal is when a copy of Whole appears with magnification of each portion. Although Mahsa Karimi Zadeh’s volumes do not have the geometric feature of a fractal as visual aspect, as subjective aspect, the ideas of whole and portion are the same. But let examine the possibility of visual “fractal” of these works with a sample. Visual sample that mentioned has the optical zoom which is madden by poly-methyl (Methacrylate acrylic sheet) in a scale of 76x59.Does not seem the idea of Whole appears in her work once again? In one hand it suppose that the volumes are form of enlarge structure of molecular that consist their material and on the other hand they are the scaled models of nebular or star blisters. Because of huge differences in the dimensions and dissonance of time the logic of nested world cause the possibility and difficulty of direct communication between parallel nested worlds. To perceive this pattern better that before, it is sufficient to fancy the distance between the stars, distances which are causing the possible trend of interstellar travel toward zero. And substantially in a level, much bigger, optical vision of universe instead of recent position of cosmic object shows an image of a long ago. A big part of this image does not exist today. According to the description, imaginary wall of space-time has a lot of similarity to the idea of “Veil of time and place” in the Iranian wisdom. This veil will break in after uniting with the soul of the world. Carved pieces of flat or convex field of each volume leaves a shadow of itself, a shadow that shows a reaction to the time component and movement of radiation source and in the act of aesthetic of works plays a role which is equivalent with the constitutive materials. The importance of light and shadows on the structures of Karim zadeh’s works, bring out these volumes from the sample and set down in a real circumstance. The fact that is within with logic of constitutive of volume micro-sky of material and macro-sly of cosmic. With due to logic of nested world, each action, whether from inside to outside or vice-versa, transforms to a repeated cycle. Massive cosmic scales who we know can be regarded as microscopic scales of another observer. This logic transforms the proportion of nested worlds with each other to an endless succession. A kind of shape in the eye of beholder “me” calls the meaning of infinitive. Something likes an observer who walks along a Moebius . If artist provides a subjective mirror with the volumes mentioned, logic of nested world which used in the construction of statues, notify the position of “me as an observer” and the impact of cosmic structure. In another work shows this mechanism in a practical way in the eye of audience. For interactive arrangement of “space- time”, Mahsa Karimi zadeh spreads a black sponge on floor of gallery that there are heavy yellow balls in different position of foam, these balls are sunken and movable. “By entering to this work, observer impresses the space-time like a star and he can feel his own weight in the universe.” the artist wrote it in her short description of her pre work. Essentially the combination of space-time is known as a continuum in the theory of specific relativity but according to all we have covered up to now the artist cares about interpretation of “self-transition” more than specific physical meaning. According to the definition of specific relativity, continuum of space-time is a variable function and depends on the observer. Either Iranian “self-identify” does not assume the world a fixed function. Because the role of “me as an observer” formed this frame. “Me as an observer” , itself, in one hand is macro world due to the efficiency of exiguous wisdom, against the universal wisdom, and in the other hand due to its independence form the whole cosmic, independence which is made by act of observation, makes a world that realize only from its perspective and its reality depends on the being of observer. Interactive arrangement of space-time also take advantage of individual experience of interactive with work, makes numerous rang of dissimilar worlds. Although the origin material of these worlds are the same, immediately after arrival of each audience to the privacy of works, these works form a new one, such a world is only described by characteristics of “flow”. The experience of subjective which is produced by facing with the Karimi Zadeh’s works can be visually by virtualization tools. Just by virtual digital tools the researchers reached the reconstruction of visual idea of “fractal”. In the world of reconstruction of virtual “fractal” direction are mixed and the proportion of dimension is lost in the thousand layer inside of endlessness and finally in “never land” manifest. The question word of “Where” looses its meaning or at least the sense of belonging to the realm of experience of sensations. The meaning of “never land” comes from here. There is not a place out of space which is located in another place, the question word of “Where” does not belong to this place and we can not mention it. But when we talk about “Leave behind” what is our exact aim? As the symbol of Sohrevardi’s story shows “distill the oil of Belsan on the hand against the sun”, [the ancients believe when a person squeezes this oil on his hand, the oil penetrates into the tissue of his body and then comes out from the other side.] But when someone goes inside, finds himself out[……], paradoxically.[the universe of example, Henry Corbin, translated by Seyed Mohammad Avini, Proceeding of Henry Corbin, edite and collect by Amin Shahjoui, Haghighat publishing 1384.] Translated by : Niloofar Khani