Most of my paintings during the last decade have been about the situation of women's lives in the Iranian society. A society prone to explosion and change. From this perspective, the usage of cultural, social and political tools and their feedback on the behaviour and performance of subjects in my work, has been a priority. The hidden and evident aspects, the subtle relations between traditional approaches, the attitude of society towards the demands of women in Iran, and sometimes fundamental changes in reformist thoughts and alignment with the advanced Western world, the contradiction and imbalance behind this transformation has been the theme and idea that formed many of my paintings.
For this reason, the paintings have a culture, full of the issues ahead and experiences of the previous years. From the gender revolution since 2009, to the legal demands, issues related to the social class system, hijab and marriage, or the formation of street terminology, cover, makeup, fashion, and the right to choose to be present in places that previously have been in Men’s domination.
My paintings are generally in the area of Pop Realism. A realist critic, who seeks out and reminds the realities of the hidden layers of society, in the form of a picture, but indirectly, and uses the information and media that is specific to the Iranian pop culture. In Iranian pop culture and art, there is a deep contrast between traditional and contemporary beliefs. Contemporary art, therefore, has a militant and critical attitude towards what is imposed on it. Even in some cases, against an invasion of non-native attitudes, it shows a serious reaction and, in some cases, inevitably coincides with them. Therefore, it can be said that this freedom of choice is a distinctive feature of it.
My drawings have a unique feature in narration and presentation. They are exotic in some cases, and in this direction, they point to irrational and challenging contradictions. Unanswered questions, or vague answers that indicate deep confusion in facing the cultural effects of social phenomena. In other cases, they turn the seriousness of facing different attitudes, using dark comedy, into a challenge.
There is a great deal of emphasis on the type of cover, including monotone clothes, suspended fabrics behind the subjects and black chadors or the use of folk and street floor writing, which depicts the degradation of the popular culture and highlights the issues of the middle class of society, or contradiction between hijab and irregular makeup, all and all, are indicative of a cultural and social vacuity. Bewilderment, cultural anxiety, ineffective repeated demands and desires, this time and in my recent works, depicted in a symbolic structure of images and layers of X-Ray, from organs, such as lobes, hands, feet and chest, in a damaged or susceptible to disease form. In fact, they are the symbols of internal and hidden diseases, emphasizing the depth of the harassment and the severity, and then imputed to female subjects in my paintings.
Saeed Ahmadzadeh is a conceptual painter. His attempt is to express the unspoken fact, in a visual language and in the form of paradigm.
The visual expression and technique of painting in the presentation of the work, may at the first glance, seem aesthetic expression, however, in retrieving the audience's attention to the artwork, the main expression in his works will be appeared. Perhaps one the Saeed Ahmadzadeh’s unique feature, could be seen in this point, that the painter with enough knowledge of the power of his technique, acts very well in attracting the audience, in the first encounter and then he expresses the concept, intelligently, so that neither the role of the image gets involved with the expression, nor the content is buried under the power of the technique.
Saeed Ahmadzadeh is one of the few painters, who do not sacrifice the form to the content, and also does not make any one prior to another.
The theme of his paintings is often the women of the current Iranian society. Women, who are generally hard-working and pillars of the family, and at the same time they keep their beauty and elegance alive in their feminine identity.
Saeed Ahmadzadeh is a today’s painter, the painter of society and his people's expression in a language that is neither distant nor hard to conceal for his audience, but is obvious and expressive.