In Breathe collection, Amir Mousavizadeh focuses on the direct rethinking of power bases and their direct relationship with the community of humans. He describes the unstable, transient, and materialistic position/state and life of modern man at the heart of the society that he forms. But today, each of these relationships trap himself/man into what he thought and/or at least has installed a kind of dependency on the quality of his life.

In regard to sociology, we can reread works of this collection on the basis of reflection theory. This theory emphasizes that contemporary art is a product of the surrounding community context for the  formation of viewpoint, approach and quiddity of the artist's ultimate production. As we are witnessing in Breathe Collection works, elements of life space are placed next to each other in systematic and artificial relationships familiar with the modern human spirit. The horrible authority image of power seats, symbolic implicature relating to the concept of time, criticism of permanent power positions, machines of human spirit selling or -in a sense- representation of health exchange, representation of the modern human's transactable life, etc. are the concepts used by the artist for introducing some quiddities of our surrounding community.

On the other hand, the placement form and relationship of these elements symbolize the fascinated state of the modern human life for the audience/himself. In this state, humans witness and face their own concocted items. This place-based manner concurrently makes each of us refer to ourselves as heir and heritage as if we harvest the things that we planted before. To sum up, this collection is like a visual breathe implying the breath of the artist in his surrounding society and space. In this limitless space, he and each of us played and will play a role (although a minor role) in the creation of their present form.

Saeed Khavar Nejad