Parham Ghalamdar
www.ghalamdar.com
@parham.ghalamdar
Statement:
My practice is first and foremost concerned with ways of disciplining an image by relying on and expanding on the histories and traditions of painting. “NOTHING HAS CHANGED, EVERYTHING HAS CHANGED” to me is a poetic interpretation of borrowing from the rich histories of painting to create something contemporary and current to put things into cohesion and order.
This task is carried out by paying attention to the surface and employing painterly tools to create complex layers of paint to present a stretched spectrum of paradoxical qualities: soft and rough, thin and dense, immediate and distant, exanimate and fluid etc. This approach offers tension to the surface to oscillate between paradoxical poles, anticipating that the result would be an invitation to look and observe. This methodology, especially in the context of painting, could also be a poetic interpretation of Metamodernism describing a situation with familiar components but a strange composition of them. Or as Timotheus Vermeulen & Robin van den Akker explained, a situation oscillating between two poles, between “nothing” and “everything”. This is an oddly hopeful search for meaning and depth in a world drowning in the absurdity of Trumpism. After all “the sleep of reason produces monsters.”
www.ghalamdar.com
@parham.ghalamdar
Statement:
My practice is first and foremost concerned with ways of disciplining an image by relying on and expanding on the histories and traditions of painting. “NOTHING HAS CHANGED, EVERYTHING HAS CHANGED” to me is a poetic interpretation of borrowing from the rich histories of painting to create something contemporary and current to put things into cohesion and order.
This task is carried out by paying attention to the surface and employing painterly tools to create complex layers of paint to present a stretched spectrum of paradoxical qualities: soft and rough, thin and dense, immediate and distant, exanimate and fluid etc. This approach offers tension to the surface to oscillate between paradoxical poles, anticipating that the result would be an invitation to look and observe. This methodology, especially in the context of painting, could also be a poetic interpretation of Metamodernism describing a situation with familiar components but a strange composition of them. Or as Timotheus Vermeulen & Robin van den Akker explained, a situation oscillating between two poles, between “nothing” and “everything”. This is an oddly hopeful search for meaning and depth in a world drowning in the absurdity of Trumpism. After all “the sleep of reason produces monsters.”
Geological Yummy Candy Tectonics
100x 154cm
Oil on canvas
2022
100x 154cm
Oil on canvas
2022