* Receptive

Homa Hosseinian, January 28 – February 14, 2022

* Individual Works

* Statement

Forests and plains are landscapes that have always been a context for various events, a place for peace, a place to flee to from social obligations, a place for transitions or journeys, apart from social conventions. They harbor us and anything we witness within them with solidarity, even a fallen tree trunk gets a new chance to bud and bloom once again.

The idea of human presence within these landscapes along with using documented photographs and pictures from various historical events was what helped me choose these figures for my paintings. These figures are now present in conditions separate from the real documented experiences, as components of this whole alongside other pieces and details.
* Press Release
Homa Hosseinian mainly explores the themes of nature, history, and humans in her paintings, and collective and historical events have always influenced the nether and deeper layers of her work. She chooses a delicate but piercing way of telling her stories and portraying these subjects that also convey a sense of cold and rigor.
In these pieces, all components are pictured in very specific details using a tool that is very close to nature, and portraying both the details and the whole has been equally important. Darkness and light play key roles in her paintings as she omits the charm and glamour of color from her paintings, and leaves the viewer alone in quiet and mysterious scenes with creating these high and low lights.
In the “Receptive” collection, the artist portrays people in the heart of a cold, violent, and receptive nature. The humans who are always struggling to tame nature, are now one with nature and co-habit within and with it. In the artist’s world, paradoxical to the reality of today, humans are surrounded by nature and do not attempt to change it to their advantage; so in these pieces, the humans seem more like immigrants wandering between borders who have fled to the realm of nature and have hidden within it.
Hosseinian builds a structure that looks simple and achievable at first glance. Just like Caspar David Friedrich’s approach, she portrays a romantic and hopeless connection with the landscapes of her homeland that signify a symbolic relationship between humans and nature. In her pieces, She forms a connection between human perception and emotions with Nature, and while redefining this story, she tells an ambiguous tale in which -just like the artists of romanticism- humans are an inseparable part of nature.
These landscapes are created inspired by a mix of her photography of nature, old family photos, and pictures of war soldiers. She detaches these figures from the situations they were forced into which defined their identity, and she puts them in new conditions. These new conditions break apart the previous integrity and unity, and though not alone, these characters are isolated and defeated by the force of nature. By using pencils, the artist has constructed a vague visual structure that has no time and space which makes it difficult to recognize any borders. This tool and the long hours she spends on her pieces have enabled the artist to become exceedingly close to disintegration and repetition.
* Past Exhibitions