Mansour Ghandriz, as an ambitious artist, in his short period of artistic activities (a decade), succeeded in representing a different perspective and a symbolic abstract, in his artworks and in his pathway from figurative painting (Tabriz Period) to abstract painting, hand-printing and in the formation and durability of the modern painting, played an important role. This distinct approach and his unique aesthetics, even in the Saqqakhaneh School, gave Mansour Ghandriz a special place in the memory of Iranian Visual Community.
In this artwork, which is the relic of the maturity period of the artist’s activities in Tehran, by redefining the concept of native and national identity, he revelated and rooted the ancient Iranian visual traditions and intelligently, by benefiting from the outstanding modern artists’ achievements, he chose the Linocut special technique of printing, as the main achievement in creating his artwork.
Ghandriz, by influencing from abstract shapes and forms in western artists’ artworks, such as Joan Miró and Paul Klee, reached to the source of the creation, in a poetic way; but the unbound and free forms, coming from the soul of the western artist and sit on the canvas, in Ghandriz’s artworks, faced to the selective system of the eastern world, as an obstacle, and so, in his later artworks, he worked on the boundary of this dual world, with a tendency towards the abstract art in Islamic-Iranian culture, while loyal to two major features of symmetry and repetition.
Among the remained sample from 1962 to 1965, which the present artwork belongs to the same period, the approach and method of the artist’s interaction is clearly matching the Saqqakhaneh Style. Particularly, in this artwork, Ghandriz, seeks to create a symbolic transformation, by picturing the flat and abstract motifs, which are formed based on simplicity, geometry and repetition and utilization of schemas existing in Islamic Art and primitive figures and distancing from the figurative art in the past. The present artwork, by placing two pieces (the matrix and the printed artwork) alongside each other, must be considered as an opportunity for comprehending the poetic regard of the artist by observing the imagination and tricks of the positive and negative spaces in an artwork. Ultimately, the dichotomy disappears and the possibility of representing a united entity is provided.
Undoubtedly, Ghandriz was not the theorist and founder of Saqqakhaneh School. However, due to the traditional motifs not specifically religious, his artworks have been considered in the Saqqakhaneh School.
Ghandriz, unlike the other painters of the Saqqakhaneh School, did not begin his new experience by referring to the sources such as the religious painting in the Qajar Era and he never tried decorative tricks such as stamping; for this reason, even in his abstract tendency, he was trying to create a meaningful artwork.
In his artworks, the sun is shining in the sky, the daylight is everywhere, but nothing has any shadow. In this fantasy land, as if time has stopped and life is on the border between myth and reality.