In what called philosophy of art, usually one of these two is lost: philosophy or art.
Quoted from Friedrich Schlegel
In the book Truth & Beauty:
Lectures on the Philosophy of Art, Babak Ahmadi,
Tehran, Nashr-e Markaz Publishing Co., first edition 1996.
When I write not to read this text because it is a text for nothing, I am neither exaggerating nor being deceitfully modest.
Certainly you have seen Peyman Shafieizade’s works before. This text has also been written in relation to his works; so do not read it, because if you still feel astonished by what you have seen, this text will not reduce your astonishment, and if you have any other feelings, you will find this text beyond your comprehension, because it neither add anything to the depth of the works nor reveals any secret hidden within these dazzling ambiguous works.
It is a pity that Peyman has asked me to write something about his paintings, because it is the first time that during writing something —- no matter what its title is —- I have believed in genuineness of images world which doesn’t need to be reduced to the world of words and language; but it is inevitable for me to reduce my unique pleasure of visually understanding his works by putting it in a row of words and phrases coming one by one with such a difficulty.
Undoubtedly, Peyman has come to this point after his previous paintings, after a journey in the worlds of time and image, and his folded works show how he has trekked ups and downs. His Odyssey-like searching in the world of legendary models he has painted, along with a unique trick of folding the painting papers, resembles a book of travels to the world of “Wondrous Beings”: human beings with more than one head, woman-shaped men and man-shaped women, an athlete with fender and tire… But, being faithful to the legends, he has portrayed their figures completely, though detached patchily, like the stings that can be seen attached to each other only by being looked inclinedly. And it is through this kind of looking that Shafieizade shows his profound look to the world of legendary models, and also audiences’ minds. These detached but precise and well-ordered distances are that give a chance to the foldings to come up from the lower levels and show that to what extent the content of these legends stems from the complicated or sometimes superficial eclecticism of the concepts reconstructing the contemporary culture.
In his interesting reading of the concept “folding” in Foucault’s story about the ship carrying insane people, Delouse shows that the folded waves of the sea coming up and down represent the abandoned insane people some time as the people imprisoned by the wisdom which has sent them off to such a journey without any destination, and some other time as the hopeful travelers fighting against death onto the see. By proposing the theory “folding”, Delouse discusses the possibility, or the quality, of creation of inhuman forms of subjectivity. By proposing this theory, he wants to have a critical reading out of some concepts like “presence” and “being”, “surface” and “depth”, or “being inside” and “being outside” to show that how each of these concepts reflects the other through a folding. Delouse’s conception of “folding” equals revealing interaction of tradition and memory and time in a complicated struggle leading to construction of subjectivity. In fact, from the viewpoint of Delouse’s “folding”, the subjectivity can be known as a spatial spectrum including different points of these foldings topographies, and this situation is astonishingly clear in Peyman’s works: in directions of those cuttings, in the ground of lines and borders, or along the vector of the legendary models drawn in his works, one can see the folding of history and language and tradition as overlapped and reconstructing levels of contemporary subjectivity.
A folded paper can easily bear a burden ten times a plain paper, and this is how the interwoven legends of the present world dominate the culture in the public sphere strongly and resistantly —– through overlapping Darius and Imam Hossein, the automobile Pride and Che Guevara, or a general and a pigeon-fancier. The resistance of these legends, stemmed from their all-out presence, comes from their simultaneous company, and in the meantime it is only looking inclinedly that guides the look to the nature of this institution of dominate. “inclinedly” does not mean that we do not look directly because the image before us is a blemished one; it means that we look from a direction by which the consistency of the legend, through fragile ups-and-downs like the edge of a paper which in spite of being invisible is cutting, is revealed.
The way Peyman has followed from his previous collection “Burda” has converted now to a pattern that reflects the overlapping of the models and in the meantime “folding” is his epistemological look to these “legendary models”; it is not only a visual trick to make the two overlapped pictures seem three dimensional.
Having said that, he has borrowed the concept “folding” from the inner logic of his works, neither from Delouse or Leibniz nor from anybody else. He has borrowed it from a simple sign on a paper pattern in Burda Magazine which guides you where to cut and fold the material to make clothes, such clothes Peyman makes me, you and legends wear.
And the last point is that how his works are similar to Chinese fans, aren’t they?
Homayun Askari Sirizi