|
|
|
|
|
Horse Factory |
Rosa Bonheur's paintings showing a mass of unbridled horses in the context of the French realism of the second half of nineteenth century; Franz Marc's representations of a group of horse-like creatures within the framework of German expressionist tradition; Deborah Butterfield's tri-dimensional life-size portrayal of horses during the closing years of 1970s using junk metal and industrial materials; and Mark Wallinger's hyper-realistic paintings of such creatures during the heydays of post-modern art can be viewed totally within a deep-rooted and long-lasting approach whose unwritten rules and norms are determined first of all by a so-called "animal aesthetics". Beyond this specific aesthetics – within whose deeper levels one can observe a passion for dynamism and proportion – there ripples, however, man's exuberant and ancient love for such a creature; a devotion and an attachment which has been moving along the creator of the present collection during the many years of her career. It would be a mistake if the attention and fascination shown in dealing with such a subject is construed as a return to an already expired period, which, on the contrary, is the remarkable characteristic giving unity and originality to the collection of Samira Nowparast up to this date. The artist, used to suspend her abstract "animal-likes" in a threatening space and a frightening atmosphere, is now showing them on her canvas with a more form-wise clarity; and being driven to extremities because of older horrors, she undauntedly leaves them full-fledged to razor, wheel and knife. Maybe such a disruption and disfigurement is acting as an allegory of a catharsis that the artist is looking for while sacrificing her dearest preoccupation.
Written by: Hamid Reza Karami
Translated by: M. T. Faramarzi
|
|
