Le bain, 2024

Mohammad Ariyaei  

THE THOUSAND AND ONE NIGHTS OF MOHAMMAD ARIYAEI

Sweetness and oriental wisdom follow the overexcited bubbling to which we had deliberately accustomed the previous exhibition of Mohammad ARIYAEI. The imagination of the Iranian painter passes serenely from the wildest frenzy to the meditative calm of the great fabulous stories. The artist then liked to pour the volcanic torrent of his barbarian figures onto the very fine latticework with which he usually covers his backgrounds with the patience of an illuminating monk. Already sweetness and paroxysm coexisted. Now sweetness prevails. The painter's driven imagination, yet spontaneously bubbling, by instinct as much as by erudition, has no trouble reconnecting with the abundant oriental tradition of the , which, like a river with a long underground course, resurfaces in the light of his painting. Spring renewal of traditions that are still alive. Systematic filling of space, a sort of oriental version of the Riches Heures du Duc de Berry, teeming with legendary reminiscences, Persian of course, but also Assyrian, or from Indian or Chinese folklore. The decorative luxuriance of Persian carpets finds a new lease of life here. Just as carpets fly away in Persian tales, the imagination of anyone immersed in this universe of high fantasy hovers in a timeless reverie of the Golden Age where the most colorful of mythological faunas are active. Winged horses, centaurs, grimacing demons, horned monsters, cloven-footed genies, everything invites the spectator to tell himself a thousand stories. Women strike lazy poses in luxurious hammams. Why are they black? It is apparently the traditional color that legend attributes to djinns, spirits of nature born from a smokeless fire. Similar to elusive supernatural beings, they are more subliminal fantasies than carnal reality. Limitless abundance, the impression of embracing with one's eyes a universe of inexhaustible treasures, what was confidential in illumination expands, overflows everywhere and attains the dignity of mural dimensions.

Xavier BUREAU