My paintings' subject are solo females in a background which has lost its time and space. Tumbled faces with modernized-classic style by oil on canvas technique. Their technique are belong to East Europe with harsh touched texture while expressing the fine hidden emotions of a modern character.
My artworks are more depicted emotions rather than real portraits.
I am not going to portrait a women with a tumbles feeling but depicting a tumbled feeling by a female portrait.
The distinctive feature of his artworks are their technique & depicted vivid feelings which impress the viewer.
The initiation of this collection is portraits, which Shirozhan has created years ago when he was abroad; portraits, sunken in ecstasy that include classical-modernism forms with techniques, harmony of colours and specific Eastern-European colour touches, in some cases, covered with ancient traditional Persian motifs in the background. The result of such combination would be portraits of women who are not portraits, nor women, but they are visualized forms of a specific feeling. In fact, Shirozhan does not want to show “a woman who has a feeling of ecstasy,” but rather he intends to exhibit “a feeling of ecstasy within a female portrait.”
Such feeling associates sort of an existentialistic indifference: “detaching from time and place and drowning into one’s self to decrease the burden of the pain of existence”. Such feeling indicates the particular approach of the painter towards the world and mainly, his shelter of existence. The figures and portraits floating in astonishment were actually the male painter who has been amazed in the existential ecstasy, and spiritually and mystically has set himself free from the chaos of life.
In his new collection, Shirozhan’s “women”, have opened their eyes and are now free from the escaping ecstasy. As if, a storm has swept off that mysticism. The motifs in the background have been replaced with bright colours, which were hardly seen in the previous collection of his.
Desert flowers and wild plants are replaced with the previous motifs; instead of the motifs that are symbols of mysticism, there is a thorny plant as a clear symbol of pure naturalism. This is the major difference of his recent collection in comparison with the previous ones. From the escaping spirit, mysteries and denotations, he has returned to the origin of life; the pure vital force. The painted characters are now awakened, yet an astonishment is in their eyes which indicates that the painter is not yet adopted to his new understanding.
Mehdi Tadayoni | December 2017
Untitled , 2016
Signed, 2016 Oil on canvas
Untitled , 2018
Signed, 2018 Mixed media on canvas