Projection

“Projection” is the dominant scene in artist’s painterly works. From an existential point of view, man is thrown to the world and, subsequently, to life and, at the same time, to liberty and anxiety. In this setting, what matters most to the artist are two inevitably interlaced concepts of “femininity” and “temporality”. Paintings, therefore, reflect the border between “the real” and “the imaginary”, on one hand, to further depart from the absolute formalism and, on the other hand, to put a double emphasis on the time. To this end, the element of time is used in these pieces as the context for execution of paintings.   

Time is cruel. It is nurturing and annihilating and women are the only creatures capable of apprehending this cruelty as the fundamental imperative closely tied to their living experience.

Here time, in aluminum sheets upon which canvases are piled, becomes the active element for execution. “Deterioration” and “representation” are two dimensions of this execution in which, the artist, on one hand, attempts to underline the ruthless temporality that infiltrates into everything in a slow, cold-blooded, non-stop, and careless fashion through oxidation of the sheets over the course of time and, on the other hand, to present a blurry and faint image of a human presence before the pieces; the presence that is outcome of that projection.

Tara Nazm Alizadeh