Visual Dynamics in a Historical Attachment

Nader Kamalvand

The volumetric artwork of Mostafa Mohseni, one of the artists in the Eighth International Sculpture Symposium of Tehran, demonstrates a kind of traditional geometry based on artistic creation, which is familiar to us because of its details, architectural elements, and Iranian traditional arts. The lattice rotating square and the traditional Girih Tiles are detached from their historical background this time, and they are displayed in the form of an object; a memorial object. The artist focused on the shape aspects of this artwork to recreate Iranian aesthetic art, and by selecting a motif, he formed his final idea.

The artist set the rotating square in Iranian art as his start point to form his artwork, and by a different geometric decoration, he duplicates and expands it to introduce a new form of movement and shape continuity. This rotating movement, which is formed by these motifs, has created a three dimensional volume which represents movement and rotation and creates a kind of visual dynamics.

Consequently, it can be said that the artist is following a form of visual relations and elements similar to functions of abstract art. In this artwork, although the artist has chosen a familiar form to the people, he attempted to focus more on visual and aesthetic aspects rather than historical and familiar ones. In this way, the artist concentrates on the rotation form alongside with semantic meanings existing in the artwork. This creation displays aesthetic elements of Iranian art in the form of a geometric composition and attempts to maintain harmony and represent an immaterial and mental feeling to the people.

In the final form of the artworks like these, the focus is on the way the shapes were formed and developed toward perfection. Therefore, the artist considers both aesthetic and meaning aspects and creates the final form in his mind.

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