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Seyhoun Art Gallery Nov 2013 Monir Sehat Disjointed 02

The language of abstraction speaks of the moment of explosion; it is the language of uprooting and eradication. It is the utmost joy of destruction in creation; yet, this language is not the common parole of our paintings today, Abstraction is the last resort left to an artist to get to  his/her target and while devastating everything, he/she can create something afresh in his/her own desired way.

In today’s horrifying and sharp-edged world, Monir Sehhat’s works portray the very heavy horrendous blows of a cruel time as we witness it in silence; a time which is rooted in the past and looks up to the future through the destruction of the present. Her works have adopted a completely abstract tone and a contemporary expression which to the linear classic viewer may seem unsettling and hard to swallow.

Her goal is to portray human rebellion, the ugly and beautiful relationships around us. Her visual world is hanging from threads which are tied to an uncertain and dark origin; pending worlds in geometric shapes which portray the suspended human, hanging from toothed threads, a threat which may lead us nowhere - once speculated- except to the world of the artist who created them. Shapes open ways to other shapes through which one can find a path out of disunity.

To build anything one must destroy its past and part with it, ‘cause departed is the past itself.


Hamed Behrouzkar / Nov 2013



زبان انتزاع، بیانگر زمانِ لحظه ی انفجار است. زبان انتزاع، زبان برکندن از ریشه و بنیان است. زبان انتزاع نهایت مرتبه ی لذتِ تخریب در آفرینش است. زبان انتزاع زبان ادبیات جاریِ نقاشی های امروز ما نیست. زبان انتزاع  در نقاشی آخرین تیر ترکش یک نقاش است که به هدف می کوبد تا همه چیز را گسسته کند و دوباره درهم آمیزد، آن گونه، که خود می خواهد و می سازد.

در فضای دندانه دارو سهمگین جهان امروز، نقاشی دوختهای انتزاعی"منیر صحت"  بازنمایی همان ضربتهای هراسناک زمان است که ما در سکوت شاهد آن هستیم.

در آثار او میتوانی  پیوستگی وگسیختگی را توأمان نظاره گرباشی با رجعتی به گذشته یا اشارتی به آینده، اما اوتصویرگر زمانِ حالِ انهدام است، زمان حالی که از گذشته ریشه یافته و با تخریبِ اکنون خود؛درآینده امید را جستجوگر است. آن هم با زبانی کاملاً انتزاعی ولهجه ای معاصر، که هضم آن را برای طیف بینندۀ ادبیات محورامروز گاهی ثقیل می گرداند.سعی او در بازنمایی عصیان آدمی است. سعی او با "زبان دوخته شده ی انتزاعی" امروز، در نشان دادن بازتاب های روابط  زشت و زیبای اجتماعی پیرامون مان نهفته است. جهان تصویری او از هستی های آویزانی شکل یافته اند که با نخی، به مبدأی تاریک و نامعلوم  متصل اند.هستی های آویزانی در قالب اشکال هندسی که می توان معلّق بودن و بسته شدن انسان را بانخی دندانه دار و دوخته شده و گاهی آویزان تصور نمود. نخیکه اگر آن را دنبال کنید، شاید به هیچ چیزی نرسید، اما لحظۀ انهدام محذورها و انسجام مکنونات نقاش را دریابید. آنچنانکه شکلی در شکلی باز می شود تا در پسِ خود پیوستگی را از راه گسیختگی به ما نشان دهد. چرا که برای ساختن هر پدیده ای ابتدا باید به تخریب گذشته آن به پا خاست و از آن گسست. زیرا گسسته همان گذشته است.


حامد بهروزکار / آبان 1392


نمایشگاه " منیر صحت " با عنوان " گسسته " آذر 1392 گالری سیحون


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