Alireza Poya

Nostalgia

Although the social context of the women’s presence in Iran has emerged after the cultural confluence with the Western civilization, it has become subject to the numerous alterations.

Creating this successive collection, Alireza Pooya has proposed the integration of the concepts, slogans and values, dominant in his time, in a way that through drawing boundaries, at time he disassembles, splits or traverses them.

The artist is free in the ardor of his nostalgia but he is not the resident of any mundane land !

He rides the steed of modernity and holds the eternal memory close to his heart.

The works are eagerly read anew for the concepts, and the compass point stands firmly on embracing the mental distortion of the today’s average individual.

Before the emergence of women’s presence in social contexts and relations, an absolute patriarchal viewpoint had been the only governing perspective, through which the world was looked upon, and all the moral teachings and … offered by men, has made these taboos stronger. In a place, where the dominant viewpoints on social phenomena are one-sided and black and white, a novel point of view from a different angle is not accepted; therefore the presence of women cannot be admitted and the idea of acknowledging their standpoints and opinions is resisted and disaccorded.

The artist challenges the mere double visioning via providing colors and illustrates a third status that can depict a kind of grayness in the heart of which, a luminous flame is covertly glittering !

The imagination, which is moving in the time tunnel, is flown, and the aspiration, which leads to the unbridgeable abyss of the colors in human relations drawn by the women’s adventurous world, is sought. A woman is not at the confluence of the unknown, rather she is closeted in the path of the unseen! If the autumn is expected to rise again, the last human shall be a woman.

Dr. Shariar Mohseni (Researcher and Sociologist)