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Hadi Hazavei



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


17 November 2014



   First floor

   Second floor