Absence
Here we are faced with a well developed approach to “landscape.” The term “landscape” is defined as
“an arrangement of objects and spaces on land.” Arjun Appadurai, the American-Indian anthropologist,
suggested some alterations to this word, where the word “land” would be replaced with a different
prefix each time. The results of these alterations were words such as “financescapes,” “technoscapes,”
“ethnoscapes,” “ideoscapes,” and “mediascapes” Our world is currently led and shaped by various
forces. Appadurai utilizes the term landscape to describe the simultaneous distinctions and overlaps
of these forces. The historical context of using this term lies in painting, and now paintings connect
us to both the historical meaning and the landscapes of the current world. The various, although vast,
applications of this term grant us access to the processes, transformations, tensions, and images, all of
which move our present world forward. Our intention in using this term is to place it back into painting
history. As previously mentioned, this word initially found its meaning in painting; however, as the term
has traveled through other domains, its meaning alongside its inevitable transformation, has been
undoubtedly enriched.
The paintings of Omid Hallaj in the “Absence” series each open up a landscape as well landscapes that
have expanded far beyond the retinal realm (purely visual). Poetry, politics, myths, and philosophy are
each objects and spaces within the paintings. Hallaj’s work can be evaluated based on the history of
imagery, social context, and knowledge. Pieces, corners, and moments are placed on the horizontal
axis; static and dynamic forces flow through the background and foreground. As we witness stability in
a shape’s cut in the foreground, we follow fluid and flowing elements in the background. Each being is
accompanied by a becoming, and each becoming by a being. The painting does not aim to present these
forces in a state of reconciliation, nor does it accept much of a suspension. From its perspective, we
too are gazing at the overlap and distinction of these forces. Still life, abstract paintings, figurative and
portrait paintings are all mentioned in these landscapes. In a sense, the landscape that has opened up
before our eyes hosts many landscapes within itself. The painting also opens insights into the history
of its medium.
The term “landscape” serves as an entryway for standing in viewing of these paintings.
Javad Hassanjani–