The beautiful and amazing artist Afarin Sajedi at SCOPE New York art show, together with her brand new collection “Illusion”.
Afarin Sajedi was born in 1979 in Shiraz, Iran. She went to Teheran to study at the Azad University, where she got her degree in Art and Graphic Design. Sajedi’s creativity, technique and powerful trait ensured her a prominent position in the world of Iranian art. She has several motifs she enjoys portraying; however, whether she is depicting following her Japanese inspiration, her clowns, or her theatrical characters, she mostly portrays women. Afarin Sajedi’s stunning paintings are characterized by a central figure on a plainly coloured background, which is often cut by living elements and objects that cross a mystic scenario. In her brand new series, exhibited exclusively at Scope New York for the first time, Sajedi deals with the theme of illusions – which also stands as the title of the collection – and of water. Just like in her previous works, the women painted with acrylic brushes on huge size canvases seem to be submerged in a deep sea of quietness and comfortable silence.
However, while in her past production women’s enigmatic faces came out of the darkness to describe the feelings of pain, now the figures are dressed with accessories that remind of Futurism. Once more, some key elements are repeated in all of the four canvases, through which the feminine figure undergoes a detailed study from different point of views. It begins with a profile view, in which a fish, used as a surreal headgear, stands out; it goes on with the first frontal view, in which the woman looks down, eyes closed, meditating beneath the headgear that acts as an insulator. This element keeps the women detached from the external world, so that she can dedicate all her attention to the fish only, which now lies just beneath her chin. In the second frontal view the figure is looking at the viewer, staring at him/her with her shiny gaze, almost looking for someone with whom to communicate. The fish has disappeared from the scene – only some spurts remain. Finally, a photographically-cut cut composition shows the same woman in an asymmetrical position, covered by a headgear that has now overcome and overloaded her. Her eyes are now covered by curious glasses, which seem to cease her longing for communication.
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