The paintings by Mahsa Najafi and Sadeq Farhadian are displayed at this event but with two different styles. The exhibition features 20 works by Najafi and 30 works by Farhadian.
“My wife and I each worked on our own collections, and planned to hold two different solo exhibitions,” Farhadian told Honar Online.
We didn’t think of a joint exhibit during the work, but when we got closer to the final stage, we decided to hold one joint exhibition as there were many similarities and commonalities, he said.
“The subject matter of both portraitures are women, but there are two completely opposite views. Each of us had in mind a community of women whose lives and positions were quite different. My works have a sadness that engages the audience, but Mahsa’s works are like a glimpse of hope in this atmosphere.”
Farhadian added that in his work, he dealt with one of the lower classes of society, and the dark atmosphere reflects their pain and sorrow. Whereas Mahsa’s collection of works is elitist and deals with a group of women who, despite all the hardships they endured, they have finally gained a certain status and credibility.
“In my view, what matters is the issue of choice and the social impact that separates the two. I worked on Plexiglas and fielded them with sand,” he said about his technique.
“My hometown is located in desert, and I use desert materials in my works. My work is layered and can finally be recognised as painting.”
However, Mahsa Najafi first draws the subjects she chooses on cardboard with pencil or charcoal and then modifies and prints the portraits of the people she wishes to use with Photoshop filters.
Then, according to the scheme originally drawn, the portraits will be cropped to make the final image look like a lace fabric. This lace paper rests on the scheme so that the design be completely in line with the photo cuts.
What follows are Honar Online’s photos of the exhibition:
