Anahita Ghazanfari

Iran
1977
Statement

I truly believe that art is soulful and resides deep within oneself. Art is roused by the harmonious vibes
and beauty of nature that envelopes us. Nature is within us as it is around us and we all hail from nature.

Modernity does not annul this fact. Nature touches and invokes its most primal creativity in an artist. Hence, works of art are projections of an artist’s soul to the outside world. In my case, nature speaks to my soul and predominantly through its magnificent beauty and permanence paradoxical to the evanescence imposed by human ambition and limitations. Nature gives us recognition of source and hope of continuity.

My paintings are not merely a result of direct observations but a complex combination of diverse
elements augmented by compelling recollections of specific emotions that overwhelmed me as I am
engulfed in the quintessential calmness of nature. It’s inspirationally elating.

Thus, the images from Nature Sublime are a communicative manifestation of revelations and new
emotions as well as ideas pertaining to human perception. Analogically, paintings are alike stop-signs
amid our hurried modern life. They remind us to pause in cognizance to the evident and intrinsic beauty
that exists around us. I strive for equilibrium to our daily chaotic rat race and the harmony inherent to
nature.

In my view, art is the relationship between fantasy and snapshots of reality. It is poetry in shades, hues
and colours. Art comes to me as a form of expression and exploration and gives voice to my emotions,
fears, dreams, identity and aspirations. A condensed aspect of my theme is “stratification”. The message
is: “You should look past stratum to see things that you might not see at first glance”.

I am highly influenced by Iranian Islamic art, which is all about patterns and bringings life as
a nature to architecture and paintings. “Islamic artists habitually employed flowers and trees
as decorative motifs for the embellishment of cloth, objects, personal items and buildings”

I am highly influenced by Iranian Islamic art, which is all about patterns and bringings life as a nature to architecture and paintings.

My paintings are depictures relating stories. There is an absence of focal points while every portion of
depictions has its very own voice and power to relate and continue with the story. There is also, and for
similar reasons, adoption of Islamic ornateness for more centric arrangements to patterns while avoiding
obvious focal points.

The idea of bringing nature indoors into homes and adorning buildings via Iranian Islamic architecture is
somewhat irresistible to me. It is the symbolism of bringing an almost forgotten part back to life and to
attune to our modern way of living.

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