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Babak
Roshaninejad
Babak
Roshaninejad:
…I
assume
when
art
attempts
to
signify,
it
starts
to
move
away
somehow
from
the
artistic
function
it
is
supposed
to
serve.
A
creative
work
of
art
stands
somewhere
between
signification
and
insignificance.
Or
in
other
words,
it
lies
somewhere
between
signification
and
inarticulacy
and
the
dialectic
between
the
two
…
To
me,
the
practice
of
painting
is
most
important
and
it
matters
more
than
just
creating
an
image.
Given what you
said before, by
oversizing
objects in your
work, you are in
fact taking them
out of their
original context
and putting them
in new ones, and
emphasizing
their meaning.
With that
emphasis for
your audience in
effect you are
highlighting the
meaning that
lies behind that
object.
That is correct
and by doing so,
that work finds
ironic and
metaphoric
dimensions and
becomes
something
different. For
example, the
rhythm of the
paintbrush or
other technical
practices, they
all have an
aesthetic
aspect. But for
me, the
metaphorical
aspect is also
very important.
In fact, I am
likening the
subject to the
excitement of
the strokes I
make with my
palette knife.
That
metaphorical
aspect is
created only
when this
comparison has
been formed. Had
I made these
without an
emphasis on this
kind of
technique, it
would have just
been a Sharq
newspaper. In
fact, the rhythm
of the palette
knife and the
thickness and
the body of the
paint, the
feeling the
paint creates,
and the solid
quality of the
paint are all
visual metaphors
… in fact, by
creating a
two-dimensional
space, at least
in some of the
works, by
painting those
flat
backgrounds,
more than the
exaggerated
object we show
painting as a
physical and
conceptual
process.
Part of the
conversation
between Maryam
Majd & Babak
Roshaninjead
Summer 2012
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