* Broken
Kamran Diba, June 9 - 26, 2023
* Installation Views
* Individual Works
* Statement
Poetics and Politics of Collage in Kamran Dibas’s Artistic Practice
Helia Darabi
Kamran Diba's latest painting series incorporates elements of collage. The emergence of collage in early Modern art, which triggered the formation of various styles in painting and sculpture, was not a mere technical invention but a philosophical attitude that provided the artists with a potent and enduring visual device. Marking a turning point in the history of image-making, it gave way to a novel visual language that rebelled against conventional modes of representation in favor of infinite possibilities of imaginative play. In the present series, Diba has sensibly arranged cut-out pieces from magazine photos to create new visual compositions. These compositions are then printed on canvas and painted over. Through this process of deconstructing and reconstructing visual elements, Diba juxtaposes and layers disparate elements, transcending the original meaning of the individual components. As a result, his artwork evokes connotations and interpretations, whether intended by the artist or not. Here collage serves as a creative pretext. This is what Diba also prefers in his architectural practice: “I like to incorporate the pre-existing elements found on a site, such as trees or rocks. A plain site does not hold my interest”. Collage, as a visual device, has consistently played a significant role in Diba's artistic endeavors. An early series, “The Windows” (the early 1960s), features assemblages composed of everyday objects and unconventional materials, and a combination of collage and painting. “Prodigal Waterman” (1967) and “Women Wearing Shoes” (1976) were among the pioneering examples of multimedia art exhibitions in Iran. The collage-like, fragmented aesthetic is also evident in his series “Global Newspaper” which was showcased at Aaran Gallery in 2014. The recent series, titled “Body Parts,” incorporates cut-outs of advertisements from weekend magazines, primarily featuring moving parts of the body, such as hands and legs. Fragmented aesthetics reflect the inconsistent and fragmented nature of lived experiences and the complexities of contemporary existence, which are extended onto the postmodern canvas. The paradoxical visual structure challenges the notion of reality as a singular, unified entity, highlighting instead the multiplicity of perspectives. This resonates with the artist's own fragmented life, having lived and worked in multiple cities across different continents, and having been exposed to various artistic movements, ranging from Saqqakhaneh in Tehran to Abstract Expressionism in New York, Nouveaux Réalisme in Europe, and Pop and Conceptual Art in the US.
Helia Darabi
Kamran Diba's latest painting series incorporates elements of collage. The emergence of collage in early Modern art, which triggered the formation of various styles in painting and sculpture, was not a mere technical invention but a philosophical attitude that provided the artists with a potent and enduring visual device. Marking a turning point in the history of image-making, it gave way to a novel visual language that rebelled against conventional modes of representation in favor of infinite possibilities of imaginative play. In the present series, Diba has sensibly arranged cut-out pieces from magazine photos to create new visual compositions. These compositions are then printed on canvas and painted over. Through this process of deconstructing and reconstructing visual elements, Diba juxtaposes and layers disparate elements, transcending the original meaning of the individual components. As a result, his artwork evokes connotations and interpretations, whether intended by the artist or not. Here collage serves as a creative pretext. This is what Diba also prefers in his architectural practice: “I like to incorporate the pre-existing elements found on a site, such as trees or rocks. A plain site does not hold my interest”. Collage, as a visual device, has consistently played a significant role in Diba's artistic endeavors. An early series, “The Windows” (the early 1960s), features assemblages composed of everyday objects and unconventional materials, and a combination of collage and painting. “Prodigal Waterman” (1967) and “Women Wearing Shoes” (1976) were among the pioneering examples of multimedia art exhibitions in Iran. The collage-like, fragmented aesthetic is also evident in his series “Global Newspaper” which was showcased at Aaran Gallery in 2014. The recent series, titled “Body Parts,” incorporates cut-outs of advertisements from weekend magazines, primarily featuring moving parts of the body, such as hands and legs. Fragmented aesthetics reflect the inconsistent and fragmented nature of lived experiences and the complexities of contemporary existence, which are extended onto the postmodern canvas. The paradoxical visual structure challenges the notion of reality as a singular, unified entity, highlighting instead the multiplicity of perspectives. This resonates with the artist's own fragmented life, having lived and worked in multiple cities across different continents, and having been exposed to various artistic movements, ranging from Saqqakhaneh in Tehran to Abstract Expressionism in New York, Nouveaux Réalisme in Europe, and Pop and Conceptual Art in the US.
The interplay of abstraction and figuration animates the compositions. This dynamism is evident through the suspension and rotation of visual elements, the fragmentation of pictorial space, and the receding and advancing planes which contribute to the creation of a sense of depth. The layers shift and transiently connect with reality. The illusion of gaps and multiple perspectives are generated through the choice and arrangement of the cut-outs. While abstraction is dominant, photographic representations constantly allude to reality, often misleading viewers in terms of depth and direction. Additionally, the artist employs a subtle yet effective use of painterly elements, achieved through restrained handling of paint. To differentiate between the painted portions and the collages, viewers are required to shift their perspective and move back and forth. By tearing the photos strategically, the artist unveils rough edges, occasionally accentuating them with white paint to emphasize the creative process. These intentional cracks, in turn, play a significant role in the composition. Diba's dedication to Modern art historical movements undoubtedly contributes to his artistic strategies. He possesses a profound understanding of Modernist forms and their evolution, acquired through six decades of immersion in visual art and consistent attendance at art exhibitions and events. His continuous practice of painting over these decades is evident in the seamless and fluid manner in which he handles the medium. By recontextualizing photo cut-outs, Diba creates narratives that are imbued with ambiguity, where wandering elements constantly generate multiple meanings. The familiar becomes unfamiliar, as elusive body parts beckon us to decipher and complete the image, yet the process remains unfinished, relying on the viewer's experiences and associations. However, within this new form of narrative, characterized by breakdown and deconstruction, the fragmented female bodies, the black strips obscuring their eyes, and the disheveled hair scattered throughout the scene, take on additional connotations in the present context of revolting Iran.
* Press Release
Kamran Tabatabai Diba, a prominent Iranian artist, and architect, was born in Tehran in 1937. He started painting while studying architecture in the USA. After returning to Iran in 1966, in a period of a little more than a decade, he created valuable architectural works which are among the greatest works of modern Iranian architecture. Tehran Museum of Contemporary Arts, Niavaran Cultural Center, Shafaq Park, Shahbano Farah Pahlavi's private office, and Parviz Tanavoli's residential house are just some of Diba's lasting achievements in architecture. Diba's architecture is based on unique cultural insight and visual sensibility with a focus on improving the social and biological context. The "New Shushtar Town" project, which won the Agha Khan Architecture Award in 1986, is a globally admired work of architecture and urban planning.
Kamran Diba's visual art experiences began during his student days in the United States prior to his architectural works. His early paintings created in the early 1960s drew inspiration from Abstract Expressionism, showcasing bold and energetic brushstrokes. Shortly after, he incorporated Iranian motifs influenced by the Nastaliq script into his works, which coincided with or even preceded the Saqakhana movement. Throughout the 1960s and 1970s, Diba actively participated in group exhibitions in Iran, Europe, and the United States. Concurrently, as the Tehran Biennale institution was still active, his works were also showcased in biennials held in Tehran, Venice, and Paris.
During his studies in the US, Diba was exposed to various artistic movements such as Neo-Dada, American Pop Art, and European Nouveau Réalisme. One of his early series, "Windows" (early 1960s), was a combination of unconventional and everyday materials, painting, and collage. This assemblage reflected Diba's interaction with the audience and his exploration of themes derived from everyday experiences. After returning to Iran, he held his first exhibition, " Prodigal Waterman " (1967), at the Seihoun Gallery. This installation incorporated different media, including painting, everyday materials, writing, and sound, making it one of the pioneering examples of installation and multimedia art in Iran. Diba continued to explore various artistic media, such as painting, sculpture, and performance, until the late 1970s.
After exile, Diba led a cosmopolitan life and made the cities of London, Cairo, Paris, Washington, and Malaga (Spain) his home. From this period, paintings and designs with road perspective and traffic signs have been left, which the artist considers to be the product of the effects of constant displacement in exile.
Kamran Diba's visual art experiences began during his student days in the United States prior to his architectural works. His early paintings created in the early 1960s drew inspiration from Abstract Expressionism, showcasing bold and energetic brushstrokes. Shortly after, he incorporated Iranian motifs influenced by the Nastaliq script into his works, which coincided with or even preceded the Saqakhana movement. Throughout the 1960s and 1970s, Diba actively participated in group exhibitions in Iran, Europe, and the United States. Concurrently, as the Tehran Biennale institution was still active, his works were also showcased in biennials held in Tehran, Venice, and Paris.
During his studies in the US, Diba was exposed to various artistic movements such as Neo-Dada, American Pop Art, and European Nouveau Réalisme. One of his early series, "Windows" (early 1960s), was a combination of unconventional and everyday materials, painting, and collage. This assemblage reflected Diba's interaction with the audience and his exploration of themes derived from everyday experiences. After returning to Iran, he held his first exhibition, " Prodigal Waterman " (1967), at the Seihoun Gallery. This installation incorporated different media, including painting, everyday materials, writing, and sound, making it one of the pioneering examples of installation and multimedia art in Iran. Diba continued to explore various artistic media, such as painting, sculpture, and performance, until the late 1970s.
After exile, Diba led a cosmopolitan life and made the cities of London, Cairo, Paris, Washington, and Malaga (Spain) his home. From this period, paintings and designs with road perspective and traffic signs have been left, which the artist considers to be the product of the effects of constant displacement in exile.
Diba has been painting all these years, but even though he continued his professional work as an architect, he did not exhibit his works of art for a long time. The first exhibition of Diba's works in Tehran after the revolution took place in 2006 at the "Av" gallery, and in 2010, Mah Gallery hosted his series of paintings. "World Newspapers", an extensive series that began in 2008, records world events from a newspaper perspective in a pictorial format, and a part of it was exhibited in Aran Gallery in October 2014. Kamran Diba has created many visual works in these years, a small part of which has reached the Iranian audience.
A number of aesthetic strategies might be observed in Kamran Diba's artistic periods. He has interacted with various artistic movements such as Abstract Expressionism, Pop Art, Nouveau Réalisme, and Conceptual Art. The synthetic, multimedia, and collage-based approach that was present in his early works still constitutes his fundamental artistic strategy. Social and political measures appear implicitly in his work, while his knowledge of the history of art and the evolution of the Modern form plays the main role in his visual structures.
“Body Parts”, Kamran Diba's most recent series of paintings, incorporate elements of collage. Here Diba has sensibly arranged cut-out pieces from magazine photos to create new visual compositions. Through this process of deconstructing and reconstructing visual elements, Diba juxtaposes and layers disparate elements, transcending the original meaning of the individual components. As a result, his artwork evokes connotations and interpretations, whether intended by the artist or not. By recontextualizing photo cut-outs, Diba creates narratives that are imbued with ambiguity, where wandering elements constantly generate multiple meanings. The elusive body parts beckon us to decipher and complete the image, yet the process remains unfinished, relying on the viewer's experiences and associations. However, within this new form of narrative, characterized by breakdown and deconstruction, the fragmented female bodies, the black strips obscuring their eyes, and the disheveled hair scattered throughout the scene, take on additional connotations in the present context of revolting Iran.
A number of aesthetic strategies might be observed in Kamran Diba's artistic periods. He has interacted with various artistic movements such as Abstract Expressionism, Pop Art, Nouveau Réalisme, and Conceptual Art. The synthetic, multimedia, and collage-based approach that was present in his early works still constitutes his fundamental artistic strategy. Social and political measures appear implicitly in his work, while his knowledge of the history of art and the evolution of the Modern form plays the main role in his visual structures.
“Body Parts”, Kamran Diba's most recent series of paintings, incorporate elements of collage. Here Diba has sensibly arranged cut-out pieces from magazine photos to create new visual compositions. Through this process of deconstructing and reconstructing visual elements, Diba juxtaposes and layers disparate elements, transcending the original meaning of the individual components. As a result, his artwork evokes connotations and interpretations, whether intended by the artist or not. By recontextualizing photo cut-outs, Diba creates narratives that are imbued with ambiguity, where wandering elements constantly generate multiple meanings. The elusive body parts beckon us to decipher and complete the image, yet the process remains unfinished, relying on the viewer's experiences and associations. However, within this new form of narrative, characterized by breakdown and deconstruction, the fragmented female bodies, the black strips obscuring their eyes, and the disheveled hair scattered throughout the scene, take on additional connotations in the present context of revolting Iran.
* Past Exhibitions
Ordinary Family, Strange Things
Solo Exhibition Mehrdad JafariMay 19 - June 5, 2023
The Earth is Expectant of another day
Solo Exhibition Ahoo HamediApril 28 - May 15, 2023
The Land of Cypress Trees: Connective Strings of Resilience
Group ExhibitionFebruary 27 - May 04, 2023