Following my interest in the Impressionists, especially Water Lilies by Monet, I began to see artworks in my spare time and feel good, if I feel good as a painter, this can make the audience feel even better. Why should the audience be involved in complexity, while his own life is a mystery since he wakes up in the morning? So, I started practical design in small sizes and then, when it was completed, I was able to give it a title. I reached exactly to that formulation of consciousness after experience! First experiencing the sight, then the consciousness will be reformed to collage, sits on the work and gives a beauty to the artwork. I enjoyed the fact that there was no specific background, it was just colour, and my dream of painting, which was pushing me. Fortunately, it went well, and I could freely act, the only problem was the complexity of surface on the canvas, and I had to play quarter tone, like in the musical improvisation and that was my lavishness on the work. The work was supposed to be a mission to give a good mood to the audience; but this was not just about the specific audience, but for everyone, even those who were worried about my spiritual and social mood and had warned me about the red lines and the audits. I wanted to end the worries, in fact, this time the artist accepted what the audience asked for, instead of his own desire, to see how it will be welcomed and the first welcome was from myself and when I felt good, I knew that it will make others feel good too, which resulted in a quick exhibition.
Jamalinik is a painter, who pays much attention to the social issues, in his works. Since 2006, he has organized numerous exhibitions both inside and outside the country. Jamalinik was born in 1980 and has an academic education in the field of painting. Like all contemporary Iranian painters, he understood the theme of painting and art of the 1980s and focused his critical look on the concepts and struggles of Iranian people with the process of modernization.
The main feature of his paintings is the intermingling of the vast themes and Iranian narratives with the Western contemporary expressionism art. His theme at previous exhibitions, such as Fakhrabad, Faje’e-ye Hezareh or Noushafarin, and Dome-e Shir contrasted with the tradition and sardonic behaviour of Iranian painting’s elements. In the works exhibited in the Iranshahr Gallery, a clear sense of expressionism, free of naturalism, for pursuing the relation between human and the nature, can be seen.
Jamalinik, with an admiring look at the Water Lilies Series of paintings by Claude Monet, the founder of Expressionism, has shown his power of understanding and his unique technique in painting. Colours with a rugged and powerful texture that represents blooms and trees. In the largest painting showcased in this exhibition, the audience witnesses the infinite blue in the background of the twisted tree with pink blooms, among the artist’s desired nature. As he stated in the statement, the nature is getting hollowed and empty from human, as if the perception and intuition of nature, as the source of the artist’s inspiration, is over and the beauty of the world is changing due to annihilation of the human subject-cantered thought.
Jamalinik in a revolutionary act, present a critical view to the concept of artworks and let go the forms out of symbolic remarks. The themes, seen in his previous works; which have been faded mirrors, free of convulsive lovers. The viewer, in front of this collection, is witnessing the beauty of the view, which is called Shokoufeha-ye Bi Ma (the blooms without us). The use of cadre in various directions with rough texture and flat backgrounds conceals the artist’s nerves from today’s life.
In the other works, in vertical direction, a tree is located in the lower half of the cadre. It seems that the tree is a reflection of his real existence. The aggressive nature of the colours and the pressure of the negative space above the cadre, has designed a double-blade to catch the loyal audience. The beauty of the substance of painting and nature attracts the naive and ordinary audience and on the other hand, the texture, composition and harmony of the work have formed a different sight.
It should be admitted that Jamalinik designs a popular culture and in his designs regret and the Eastern isolation is transformed to hidden and objecting daring. As much as he is an expressionist, he presents harsh abstract in his works and at all stages of his work, he is combining the styles and traditions in paintings of the present and the past. He has created scenes, free of the presence of human, which is surrendered to the force of beauty by audiences who care about appearance.