Giving fluidity to hard materials

Rouzbeh Sadr

How can we make the hard and solid material fluid or even make them move? Bulgarian artist “Kamen Tanouf” presents his artwork, “freedom in movement”, in Eighth International Sculpture Symposium of Tehran. It seems that he wants to find the answer more than anybody else. His sculpture is focused on elements and geometric forms but it grows a bodily and visually appearance in its depth; a form of body which follows the motion both in form in a meaningful way and it mostly shows a transformation.

The creation of an accurate form from the destruction of the initial accurate form, is the thing that this artist shows us in the visual aspect of his work. But it is obvious that this process happens simultaneously for the creator and for the viewer; there is no priority and posteriority in the emergence and evolution of forms for this artist. Therefore, duality of artwork on the expression of content and nature of the elements on which it is focused, is only for those viewers who can define a meaning or create a mental movement.

This duality has happened both in form and content of the artwork, but more than anything else, the work is a product of conflict and implicit difference between the nature of the objects form which artist has put side by side of each other or in other words within each other. In fact, the artwork presents numerous layers of an object or a form which have interaction with each other in a liquid movement; they drive, absorb, and even swallow each other, an interaction which has an abstract nature and it can continue forever without the constraints of time and space.

Numerous layers that we are dealing with, from the shell and frame to central core, all of them help with the energies which finally make the mental picture of metamorphosis of existence procedure we are facing with; a process which seems that will never reach a certain point in shape. However, the thing we are facing with right now seems like a solid or stopped shape at first sight.

It should be pointed out that implementing such an idea by the artist and using materials such as stone, which is a reference to stability of material, caused him to challenge with defamiliarization with common characteristics of this material and all art histories related to stone sculptures. Moreover, the necessity for visual aspects of layers to be multi-substance could have created difficulties and complexities for the artist; at the same time, much of the diversity of textures of different layers of the artwork is caused by the multi-substance layers. On the other hand, the interaction of forces resulted from a kind of rhythmic and sweeping force forms has created a form of mobility in the artwork which can be a credit for an urban sculpture and can engage the viewers more than static volumes, and focuse on full certainty volumes.

But placing of the main part of artwork on the base can be viewed as a redundant and unnecessary function at the first sight for an artwork with good features. Considering the bodily parts of artworks which were mentioned before, it can emphasize and refer to human and figurative statues. Also it can refer to the familiar shape of sculptures especially in urban areas. However, a presentation without this function and a presentation for an artwork with these features can be also imagined.

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