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Majid
Asgari
Perhaps
if
William
Morris
had
been
born
a
few
decades
later,
maybe
if
he
had
this
great
chance
to
meet
Andy
Warhol,
who,
at
that
time,
was
producing
art
in
his
“factory”,
he
would
have
called
him
the
only
artist
in
the
world.
If,
after
several
centuries,
William
Morris
was
contemplating
again
about
the
unity
of
the
artist
and
the
artisan
and
was
longing
to
see
these
two
join
together
once
more
– a
link,
which
was
entirely
shattered
approximately
a
century
ago
–apparently
Andy
Warhol,
was
A
renewed
call
for
a
union;
a
man,
who
loved
industrial
life,
called
his
atelier
a
factory
and
was
fond
of
Campbell’s
soup
cans
and
Coca-Cola
bottles.
Warhol
even
unified
the
methods
of
art
production
with
industrial
procedures
in
order
to
produce
tens
of
copies
of
“Campbell’s
soup
cans”.
Nevertheless,
perhaps
this
was
the
very
place,
where
his
way
was
separated
from
William
Morris,
the
father
of
art
and
crafts
movement
,
where
art
was
defined
by
Warhol
in
connection
with
industry
and
by
Morris
in
opposition
to
mass
production.
What
Majid
Asgari
does
in
his
new
collection
has
roots
in
the
very
same
belief
that
connects
art
to
the
hand
of
the
artist,
to
his
skills
and
his
manual
works.
It
is a
point,
where
industrial
procedures
are
replaced
with
patience,
hand
skills
and
hardships;
and
through
arranging
machine-made
products
alongside
one
another,
labels
of
bottles
or
soda
bottlers
recall
us
once
again
of
the
importance
of
the
artwork
with
all
its
adversities,
dexterity
and
tolerance.
What
he
does
may
remind
us
of
Warhol
or
other
pop
artists;
however
it
is
the
work
of
the
artist
that
gives
meaning
to
his
artworks.
Hafez
Rouhani,
September
2016
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