You can see the image by clicking on 360 degree logos.

Saghar Hamzehlou

Shirin Gallery is pleased to present Midazolam, a solo exhibition by Saghar Hamzehlou.
Saghar Hamzehlou was born in 1989 in Tehran; She graduated from Tehran Art University. Saghar has had solo shows and participated in numerous group exhibitions as well as the construction of two statues in her artistic life

As she said:
Mélanges contrary to creatures are a biological species that prefer Anamorphosis over Morphosis. Not coming to existence, they randomly metamorphose. In fact, they stay in Francis Bacon's figure's explosion phase.

No longer want a solid figure they deform to remain a visual object. Formation catabolism can be seen in their behavior.

Superiority no longer matters; survival is the figure’s only obsession, not a conversation but Visual Immorality, not Darwinism superiority but reverse Darwinism.

They can neither feel nor remember anything, therefore it can exist and it does. Ignorance is the key to it's existence.



Malahat Mohebkhah

Malahat Mohebkhah was born in 1987 in Rasht city. She graduated with a BA in painting from the University of Arts of Isfahan, and then an MA degree in painting from Tehran University of Art. She has participated in various group exhibitions in Iran, Canada, and the United States since 2010.

In 2014, she won the Parviz Maleki prize from the Seventh Montakhab-e Nasl-e No.

The subject of most of her artworks is oceanography with a host of portraits and figures involved with water. She takes on a wide range of materials, including oil-on-canvas paint,  Vitray on plexiglass and steel or mark on paper, to express her expressionistic figurative drawings.

As she said:

The Waterbeholders is my narrative of human interrelations. Fragments which have been emerged between me and others, the confluence of desire and lassitude.
For whipping this collection into shape, I captured the portrait of my relatives and landscapes of Caspian Sea and while drawing their portrait, and weaving the lines I looked at the photos.
I have used oil on canvas, so that the texture would look bulky and thick and so that I will be able to cast my color modalities on white areas.  In most of these paintings, portraits have been filled over time, emerging new ones, and the pictures were gradually destructed and built.
These paintings contain my layers of grief. As if I was stirring beneath them, not knowing about dangers of being buried underneath, I am only a bitter beholder of the flesh who cannot do, but to grieve over their lost parts and to try to reach for them.
In Memorial for The Disappearing City, I have put my wanderings into use. I have found and put together the clay shards and selectively drawn the houses in the city which were about to lay in ruins.
I am only one life, before the great flood of lives of the others, which flow across and scrutinize the city. And this is only a requiem for our common experience, that burns dead within our arms and from its ashes rises a familiar pain.
























    Second floor