|
Hadi
Hazavei
BRICKS
with
BRICKS
&
BRICKS
by
Hadi
Hazavei
It
is a
new
day
and
a
new
morning
of
hope.
It
is
exaltation
and
joy.
It
is
invention
rather
than
old
shop-worn
and
repetitious
imagery
which
has
become
the
staple
of
some
artists.
Original
art
does
not
repeat
art
history
as
it
finds
its
own
new
way.
Hadi
Hazavei
looks
at
his
work
historically.
The
work
shows
that
the
super
structure
does
not
cover
the
structure.
Materials
are
on
their
own.
Everything
is
self-evident.
His
sculpture
shows
how
the
parts
were
put
together
and
why.
I
believe
this
is
an
important
exhibition,
especially
today
in
Iran.
John
Dewey
says…”culture
is
detectable
geographically
and
the
idea
of
region
is
understood
as a
term
of
value.”
Hazavei,
after
years
of
painting,
studying
and
doing
research,
has
arrived
at
the
footstep
of
something
fresh
and
a
new
work.
New
experience,
new
sensibility
and
a
new
balance
between
material
and
imagery.
Between
brick
and
floor.
Between
construction
and
representation.
Sculpture
becomes
the
division
of
space
and
the
creation
of a
new
sculpture
which
dominates
the
floor
and
the
walls.
The
work,
by
its
simplicity,
excludes
analysis.
By
reduction,
the
work
relates
itself
to
the
space
engulfing
it.
The
culture
of
materials
and
the
culture
of
shape
are
beholden
to a
gravitational
force
which
informs
the
object’s
placement.
The
structure
and
the
framing
are
open…the
structure
shows
the
independence
of
material
and
form.
The
structure
of
the
work
is
not
here
to
alter
or
enhance
the
given
place…it
is
neighborly.
It
is
simply
filling
the
room.
For
this
work
Hazavei
cleared
the
room
so
there
is a
location
within
which
the
work
could
be
built
and
encountered
and
so
the
space
could
enclose
the
work.
We
entered
the
gallery,
not
as a
‘thing’
between
four
walls
in a
geometric
spatial
sense,
but
as a
tool
for
encountering
a
work
of
art.
The
construction
demands
an
abandonment
of a
traditional
list
of
materials.
He
simply
uses
bricks.
One
source
of
influence
on
Hazavei
can
be
seen
by
tracing,
in
the
long
line
of
art
history,
the
Twentieth
Century
Constructivists
such
as
Rodchenko,
who
must
be
singled
out
as a
great
inventor
and
visionary
artist
of
that
movement.
According
to
Rodchenko
“…..what
lay
at
the
base
of
the
problem
of
form
was
the
definition
of
the
concept
of
construction,
whereas
for
the
others
the
most
important
thing
was
composition.”
This
writer
admits
that
his
understanding
of
Iranian
art
is
limited….not
simply
by
being
away
from
Iran
for
many
years,
but
has
had
a
very
limited
experience
in
viewing
Iranian
art.
Siah
Armajani
Minneapolis
17
November
2014 |
