What do I really do?

 

    In western art history, almost most of the artists who have ever drawn figurative paintings have depicted clothe or some form of drapery. Drapery makes the view holder think that it has to be there, some sort of an obligated object; thus in general it is not the main focus of attention. My starting point of studying drapery was the way I have been observing them as a different storyteller within a painting, an open space for studying abstraction in its own way even for a Renaissance painter who is strictly dependent to the Academy. My approach to drapery was its relation within its own form, space, color and human figure. Along time I wanted to behold the limits of a concrete object, drapery, and its transformation into a fluid, abstract figure; on the other hand, I was willing to tell stories by using vivid colors, opposing to our perception of a dramatic drapery painting in our visual memories.

    As an artist I am not chasing after revolutionary works, materials or subject matters. I just do and hope that my artworks will be able to speak by and for themselves. Yet truly, why I was interested in draperies, what was the real matter for picking an object and starting to transmit it into a two dimensional surface? It took me a while to discover the true metaphorical and visual meaning lying under my drapery series; as my mentor told me a while ago covering something was revealing something, yet the act of revealing is not always easy as seems. I am diagnosed with claustrophobia and agoraphobia since August 2020, I've always had symptoms yet after the Covid-19 situation recurrence frequency of symptoms increased. I am imagining the process of discovering the content of what are done, said or dreamt of as a circle; while I was painting the draperies I was only walking on the circle's edges, at the present I am standing in the middle of the circle and being able to see what I was actually wanted to express. This led me to question, if even the artist is having a hard time to describe what they have been producing, how can the viewer expect to understand an artwork clearly, do we ever understand completely or do we really need to understand?  

 

      

Embodied, 2019, oil on canvas, 195 x 150 cm 

                                                                                                                                                       

Diving in Memoir,  2020, oil on canvas, 60 x 60 cm                                                                          

The Strange Comfort of Being Sad,  2020, oil on canvas, 60 x 60 cm                                          

     

 The Blue Temperament, 2019, oil on canvas, 150 x 180 cm