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Mohammad Tabatabai

A world submerged in a sad peace!

In Mohammad Tabatabai’s exploring point of view, expelled man from Paradise has no place on the Earth and for this reason is suspended while traveling to a new land in a very dark and quiet space.

The sad stillness of the space tells us about decomposing an optimistic security. A mandatory peace for survival is the result of the whole history of human life. The figures are called to an absolute silence, an inevitable silence that has come willy-nilly after a fruitless controversy to make “being” possible.
In these ghostly figures, woman is a concept swinging between two meanings: in the first concept, she appears as a sacred creature that is a symbol of birth and fertility to make life possible. You can experience peace and security in her arms. But in the second concept, she is a young, beautiful and enchanting woman that her creative power is reached to absurdity. She is a creature with disheveled hair that failure to visualize her face besides her grandiose cloths will intensify this swing.
In this way, all audiences experience a moment of suspense in Mohammad Tabatabai’s Paintings; a calm yet daunting suspension.

Somayeh Ramezanmahi


Niloofar Vejdani

In The Solitude of Mirrors 

Niloofar Vejdani’s recent work is a study of nesting empty spaces. Exposing a woman’s loneliness by bordering mirrors, framing doors and walls, creating a shattered image or shadow. She has skillfully created calculated compositions which represent the geometrical shapes of a house in contrast with the female figure. Perhaps a self-portrait or imaged after the females of her generation; lost and found in the familiar maze of their lives. These visual behaviors are manifested by reflective and repeated light and darkness of mirrors, reminiscent of Velazquez’s famed work. The paintings have both the usage of doorways, windows and mirrors and are indicative of them. The woman or femininity, in absence of a complete image, obscured by drapery or their silhouettes shadow like figures suggest a longing and loneliness in them. The shadows, lights, reflections, the visible and the hidden have turned the houses into mysterious places for existence. The concealed presence of the figures with their backs to the audience, summons us to contemplate.

Behnam Kamrani























    second floor