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Behdad Lahooti, Hommage à Rumi

Behdad Lahooti Hommage à Rumi, 2018

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The artwork is available for pickup from the gallery in Saint-Ouen, France

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Informations about this artwork
  • Medium

    Sculpture : metal, resin

  • Dimensions cm | inch

    68.9 x 13.8 x 11.8 inch

  • Type

    Numbered and limited to 20 copies
    1 remaining copy

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Not Signed

  • Offered by the gallery

    Galerie Maryam Ahi
    Paris - France

  • About the artwork

    Artwork sold in perfect condition

    Behdad Lahooti explores the very idea and discipline of sculpting. With an indifferent posture, artist insists that the works are not determinative or symbolic. They are also neither representational nor instructive. These pieces that appear to have come out of an industrial conveyor belt, have lost their function, but the essence of their beauty as found in nature is accentuated.

    For centuries humans have controlled the nature, fearing it and trying to regulate it and at the same time extract what they need from it. Artist chooses organic shapes and by enlarging and painting them with jazzy colors that are part of modern day life, he creates his own “natural domain”; fabricated out of a homogenous synthetic mass of material made for technological civilizations of our era.

    The installation of literally hundreds of pieces creates layers and patterns, with pauses and silences. There is an emphasis on spatial aspects of sculpting, large installation are the final work, or not; the choice falls on the viewer. But it is through the installing of the pieces that artist re-conceives the media of sculpture, in fact in this way the media can be stretched to infinity. By avoiding reference and symbolism, these works are parody of representation, and refuse to pretend to be anything but themselves. Nothing is in itself more this than that. Through appropriation of nature Behdad Lahooti creates his own Readymades, and by his illogical but measured and balanced set ups he betrays his skepticism and uncertainties in our Age of Doubt.
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Behdad Lahooti

Iran Born in: 1976
Translation in progress

Omid Hallaj was born in Tehran, Iran in 1980. In 2009, he graduated with a B.A. in Painting from Tehran's Elm o Farhang University. Since 1996, his work has been exhibited in six solo shows and ten group shows.Taking inspiration from visions he sees in dreams, Hallaj paints a lost paradise of marshes and swamps where human forms in their most primeval state emerge in the midst of luxuriant vegetation and unidentifiable animals. Hallaj's works address both the beauty of creation and a process inherent within it. Man's alienation from nature, and from himself. He currently works and teaches in Tehran.

The recent work of Omid Hallaj is a continuation of his well-known mental space, and the result of the ardent suspense of the artist on the border between dualities such as fantasy and reality, and dream and consciousness. Hc seeks to capture the eternal and eternal moments that are both signs of our familiar world and bring us a form from the onset of the appearance of things or the conversion of beings to one another. Man in his work is sometimes in high regard, but this role is not the key to most of the work, and his people are less prosperous than ever. Man is the victim of most of his work, or is seen to be ineffective, or he remains under the control of animals or caught between herbs. In this fantasy world, man has been pulled down from power, and his nudity is a disgrace to him. 

HG eliminates the signs of gender from the body, so that the concept of man and his place in the paintings is taken into consideration, and not the hints that the naked body brings with it. His humans are sometimes so busy with plants and other organisms that are depicted on the marginal margins of the world.The work of human beings in neither heaven nor the apocalyptic era, which is entangled in a busy and obscure world, shows that it has a mythical or ritualistic atmosphere without telling a particular story or giving us accurate indications of rituals and myths. In fact, he puts his imaginative spontaneity and imagination in front of the viewer, and, with the knowledge of every sign he wants to bring us to a familiar and definitive result, vanishes and buries under his many pieces of work.

Strange events form an important part of the work of the HG, and this is due to the visual imagery and the possibilities of painting the paint. In one of the works, it splits something like a piece of wood, and reveals the birth or outflow of a new thing. Or in other things, as if you're all alive from the heart of the Creek, and from the very beginning, the monkeys and humans are threatened with their early instants. In this period, he sees the first algebra of humanity as equal, and considers the first threat to be the beginning of Siri, which ultimately sacrifices him to his first act.This is what, in his work, forms the desire to approach the first senses, the first events, and the beginning of the steps in the formation of concepts and things. In another case, a ram is located on the human head and is pouring water from the jar on the ground.These miraculous gestures in his work take on a new look, and so are combined in other events that you can not accurately understand them.

Plants play an important role in illustrating the creation of an attractive aesthetic link between elements of the image, creating a vague and imaginary space. But their appearance in the image of the image is not as a relaxing and beautiful thing that shapes the sense of alienation of the paintings and other beings. Despite the familiar appearance of these plants, they combine with white and gray spectra, and they invade humans. 

Animals sometimes also act as sacrifices, sometimes as threatening, but often unaware of their actions, and in the cycle of HG activities, they become elements that create a mental dream that can be interpreted into a world beyond the current order. Iranian painting techniques are sometimes seen in some of his works, and sometimes architectural style is familiar, but all these hints are done with elegance, such as the smoke of a hand-held boy's candle making one of the flags of the same work making a meaningful harmonic work.The pencil of these works is not solved in the painting structure and does not seem like an imposed element, and the legacy of Iranian art is used in a similar, but modern, context. If we look closely at the sights of Sultan Muhammad (or other Iranian painters), we will find in them something from the turmoil of the world of Hc.

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Behdad Lahooti, Hommage à Rumi
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