Mina Ghaziani | "Garden Corners": Dastan +2
Dastan+2 is pleased to announce the opening of Mina Ghaziani's solo exhibition, "Garden Corners", on September 9, 2016. The exhibition will be open for public viewing until September 25. Previously, the artist's works have been featured in 15 solo exhibitions and over 30 group shows. "Garden Corners" is her first solo exhibition at Dastan.
Mina Ghaziani (b. 1962, Babolsar, Iran) has created the paintings of this series in a period of over four years of continuous work. The artworks were originally inspired by the time that the artist spent at "Negarestan Garden", but with constant revision, she turned them into her own refined experiences. She chose Negarestan Garden as a representative of a "Persian Space" to be able to depict her experience in these works.
"In these paintings, I tried to understand how I experience a space when looking to its past and the present." She adds: "My outlook towards time and space caused me to paint over parts of the paintings several times, and gradually omit some elements to reach a purer and more concise result." Omitting light reflections and elements like water has created a sense of suspense and timelessness in the works, but their impact on the space remain present. "The omissions were to reach a more general time, or even the omission of time altogether… and were eventually aimed at reaching an endless day."
Initially, shades of gray had a dominant presence: "I would constantly return to gray shades, so for a while, I focused on still life paintings to reach more luminous colors, but then again I felt that I had a persistent penchant for grays with a tint of blue, so I went back to them."
Mohammad Khalili, painter, has written on the works in this series: "Mina Ghaziani's recent paintings are not a tribute to the past, nor an invitation to viewing places that she has painted in her works -they are an invitation to accompanying the painter within these images; an invitation to a soothing walk in shades of gray, a dream-like and poetic presence in between the Polish chairs, walking on the cobblestone, standing in front of the flowers and flower-pots, watching the white plainness of the tablecloths, and listening to the silence of the space. Nevertheless, looking at these paintings is like being called to express kindness -expressing kindness to a world that has mixed with the feelings of the painter, without longing for the past."