Strands of the other’s presence
Interview with Faran Fereydouni along her solo exhibition titled “Strands of the other’s presence” at Sheydaei Gallery
“I am not seeking the output. The process of art creation, is an artwork on its own.”Faran Fereydouni
Shahrzad Royaei
Painting, as Faran Fereydouni’s main concern since childhood, is the most significant picture of life. She with huge experience in variety of genres of painting such as figurative, landscape and still life, has turned into abstract art since 5 years ago.
In her recent collection, she has personified her inner world with the help of forms free of angles and shapes. In fact, through this works, forms are meant to demonstrate change and the beginning of all the creatures on earth. She denies final output in creating artworks and the process of creation is what she emphasizes on as her main artistic overview. She believes “the clearer the journey of creation, the more direct relation with the audience.”
The series “Strands of the other’s presence” appears to adore co-living of diversities and blame excellence of Mankind on the universe.
In your statement, you have emphasized on spontaneity and in your paintings, in some cases like colors, you seem to be following some principles which are hardly assumed as spontaneity, how do you see this paradox?
Spontaneity is among basic foundations of process of making art. For that, especially for abstract art, a free mind and ability to play with visual elements are essential to arise creativity.
If you consider the visual elements as those principles (I rarely pay direct and special attention to them), and the colors in my artworks are appeared meaningful, these are all the results of emotional spontaneity at the moment, my previous achievements , the vast order surrounded the nature and my works also involves this universe and nature. In fact regulation, spontaneity and freedom come together just like the way they come together in the real world. This collection of mine has been kind of search to find out a natural route for understanding the universe and relations. This is the only way that makes this relation meaningful and joyful, the only way with which I relate life and no way else. In addition, I don’t seek the result or output. In my idea, “result” in what happens in a series of lifestyles, genetics, artworks and emotional experiences of the artist not only in one single artwork.
To me, painting is considered as a “game” along which I acquire my own cognition out of the whole world.
The orderly shapes in your artworks remind me of works of Klee. Why do I feel like this? It may come from the relation I have found between your manifest and your attention to the artists such as Paul Klee and Helen Frankenthaler
I am not and have never been directly inspired by any artist. Of course, there are too many artists with artworks I love but it doesn’t mean I follow their view but definitely I might be influenced by master artists and their process of creation unconsciously. When I started doing artwork, I was extremely impressed by colors and this has pushed me towards Claude Monet. In Monet’s paintings, light and color are shot to the objects, and I think there is sort of spiritual look hidden in them. They surprised me a lot. Finally, it has been “I” -myself- with my own view point that runs me ahead.
Material and technic are of mental methodology of the artist. Each and every painter, reacts differently in front of a plain canvas. How it goes matters. This process itself is a masterpiece. What defines it, are how it goes and the whole process of artwork creation.
In your artworks, how does this art creation process go?
Part of my works are based on water solvents, while painting, there is a pause phase for drying the layers and to go to the next phase. This retards the whole process. In the meantime, during these days, the water vaporizes and I use this natural process which forms the pauses and the rhythm in my artworks. The pause, in fact, retards the life rhythm for me such as an undetermined virtu. It is like a combat against the speed of the world. Also in these pauses, I can harmonize the unplanned happenings and improvise.
This process and the identity of the layers, bring about kind of transparency and fluidity which can guarantee a mutual relation with the audience. The audience, on the other hand, can witness the whole art creation.
Why didn’t exhibit Your still life and landscape paintings before?
Every experience I have had since the beginning in my artistic career become a way has brought me to this point. I felt superficial and temporary satisfaction about my artworks at that time. Everybody believed that those paintings process completed and were presentable. But painting was an experience for me to gain inner connection and little by little along with removing visual symbols this connection was created for me.
Do you have any plan to exhibit your previous art works?
In a proper time and if it’s necessary maybe I will do it, but at the moment I’m focusing on my abstract paintings.
How did this gradual change happen?
I have started to used new forms and materials when I left out all the previous methods and I began to study and explore shape and line by methods of automatism. These forms flourished there and I have continued this study in forms and visual elements. But I do not emphasize on form as a formalist. Rather, I use it to convey the concept in this series. My focus is more on the primitive and ancient forms that are the basis of our sharing with other beings, and reminding us of the totality of man and his forgotten capacities.
What is the sours of your art works rhythm?
Natural rhythms are one of the excuses for my deep connection with the nature.
The rhythm of the nature leads to meaningful phenomena.
The mutual principle of two moments and even two bodies. It turns any kind of disorder into a meaningful sequence, for me it feels like unity with the universe.
as Faran Fereydouni’s main concern since childhood, is the most significant picture of life. She with huge experience in variety of genres of painting such as figurative, landscape and still life, has turned into abstract art since 5 years ago.
In her recent collection, she has personified her inner world with the help of forms free of angles and shapes. In fact, through this works, forms are meant to demonstrate change and the beginning of all the creatures on earth. She denies final output in creating artworks and the process of creation is what she emphasizes on as her main artistic overview. She believes “the clearer the journey of creation, the more direct relation with the audience.”
The series “Strands of the other’s presence” appears to adore co-living of diversities and blame excellence of Mankind on the universe.
