Abdolhossein Pazouki / August 6, 1942
He was able to achieve alternating volumes and apply them in architecture by understanding the shape and condition of the concept of a plane surface.
His teaching expertise has extended his perspectives over the years, allowing him to stay up with the contemporary trend.
“Immigration” not only did not weaken his understanding of the cultural background but also reminded him of more authentic symbols and signs, which are clearly visible in his works, from the very early stages of creation till performance.
(Middle, center, outside) are interconnected concepts that always show the audience the idea of the components of a collection.
In fact, he sews holes and gaps via the lines and connections of surfaces, linking the inside world to the outside world.
In the field that reigns with its tools, the path and the road exert both visible and hidden effects on each other at the same time.
After years of thought and work, as well as stillness and intensification, he has continued his path as if he has been whistling, shouting, slipping, and falling from one turning point of thought to another.
His designs and paths of creation are of high significance; they are sometimes deemed as everyday events that he has gone through but has not forgotten.
Any work that flourishes and manifests itself, in his opinion, is as important as a poem, a story, or a chapter of a book that invites us to an inner dialogue with the artist in its stuttering language.
Other characteristics of Abdolhossein Pazouki’s image and imagination of his homeland and lived experience include a musical sense and mathematical elements in the context of negative and positive forms that are in the camouflage of the peripheral and expressive lines.
His recent exhibition at Aliha Gallery represents his mood and thoughts, as well as the ups and downs of his emotions and perceptions that emerge from the hidden layers of his existence.
Ghazal Zare, Autumn of 2021