Near the far


Artwork explanation

In the Earth Pulse Series, my view to the human geography, which has always been from space to the surface of the earth, is floating between the sky, the surface of the earth and its centre.

From the high altitude, the earth and human life, with all its concerns in the nature and modernity, are seen in the theme of abstraction and its composition with urban texture, which according to the requirements of my mental world, is formed based on the internal and external changes, from the personal concerns to the greatest global crises.

The embryonic forms in my works symbolize the life, pulse, and the hope for the future, which are hidden in the depths and are protected to become the seeds of a healthier and happier world.


Expert Opinion

First: The first matter that still exists in your works is the revival of the fifth decorative principle of Iranian art, which I discussed in the previous article; there are still the same forms guaranteeing the connection of your work to the Iranian tradition.

Second: There is a dualism in your work, an eternal and peaceful dualism that, at the initial level, interprets the disordered presence of our world, and at then, pictures the path and the way out of it. In fact, this dualism, creates a prophet or a social reformer out of the artist who initially gives an interpretation of the diminished world into two elements, and then begins taking an action for conciliating the two opposing elements. (You know that Mani, the Prophet, through the paintings in his book, combines the contradictions of light and darkness and sets rules for the salvation of mankind).

Third: At the first level, what this dualism offers from the interpretation of the present world can be seen in the form of an exploration for bringing the East and the West closer to the one another. The visual representation of post-modern metal structures and urban planning and the eastern aspects which are mostly represented in the technique of twisted clouds can be found in these works. In fact, all history and civilisations, such as the western Christian civilisation, Islamic civilisation, the Confucius civilisation and Hindu civilisation, are reduced to two categories of East and West. In the past, also, we have encountered a variety of dualism categorisation, such as Strauss’ cold and hot societies, Popper’s open and closed society, and Foucault’s notion of observations in wisdom systems for historical human interpretations, thus, the dualistic reduction is not a new concept. In these eastern and western works of art, geography on one hand, and anthropological categories, on the other hand, are appeared. East and West, as growing embryos, are appearing in the womb of a set of metropolises at occasionally defined borders.

Fourth: At the second level of the dualism, what has predicted the definite end of history for the post-cold war world, along with the end of ideological opposition and the supremacy of liberal democracy as the clash of civilisations, is being challenged in these artworks by the creation of signs such as roads and bridges that emphasise the future of mankind. However, the clash of civilisations is inevitable due to the real difference between civilisations, the increase of their interactions with each other, the separation of the ancient identity of mankind in the process of economic modernisation, and the growth of economic regionalism. This optimism of the artist which should be sought in Iranian culture is contrary to Fukuyama’s notion where he says “human cannot imagine a world inherently different from the present world”.

Fifth: Each artwork in our traditional insight is a window through which we perceive the divine deposits and historical assignment of our time in a system of attendance. In these works, the disordered lines and twisted surfaces, each into itself and into other elements, in combination with the image of contemporary metropolises are the representation of our era; among them, roads and bridges represent that salvation pragmatic model, which, as historical assignment has been deposited to us.

Sixth: The thrust of the aesthetic explorations of these works relies on a kind of incuriosity about Western assumptions and the emergence of a sort of mystical realism that Bita Vakili has achieved and sought to escape from the state of the present time through the representation of two foetuses, roads, bridges and borders.                      

 

Reza Rafiei Raad


Exhibition history

CAMA Gallery | Bita Vakili | Exhibition | Earth Pulse

London Gallery

Earth Pulse

solo exhibition, 29 November - 29 January


Other works by Bita Vakili

CAMA Gallery | Bita Vakili | Fish And Coral

Bita Vakili (b.1973)

Fish And Coral , 2014

Shahrivar Signed, 2014 Mixed media on canvas 100 x 100 x 4.5 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2016

Passageway Signed, 2016 Mixed media on canvas 170 x 170 x 4.5 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2016

Passageway Signed, 2016 Mixed media on canvas 170 x 170 x 4.5 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2012

Shahrivar Signed, 2012 Mixed media on canvas 110 x 70 x 2.5 cm

CAMA Gallery | Bita Vakili | Lullaby for Tehran

Bita Vakili (b.1973)

Lullaby for Tehran , 2017

Signed, 2017 Mixed media on canvas 135 x 225 x 4.5 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2017

The Pulse of the Earth Signed, 2017 Mixed media on canvas 145 x 185 x 7 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2017

The Pulse of the Earth Signed, 2017 Mixed media on canvas 145 x 185 x 7 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2017

Shahrivar Signed, 2017 Mixed media on canvas 80 x 80 x 4 cm

CAMA Gallery | Bita Vakili | Untitled

Bita Vakili (b.1973)

Untitled , 2017

Shahrivar Signed, 2017 Mixed media on canvas 80 x 80 x 4 cm

CAMA Gallery | Bita Vakili | Ah Seven years old

Bita Vakili (b.1973)

Ah Seven years old , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 80 x 80 x 5 cm

CAMA Gallery | Bita Vakili | Colorful tension

Bita Vakili (b.1973)

Colorful tension , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 110 x 320 x 5 cm

CAMA Gallery | Bita Vakili | Everyone is afraid

Bita Vakili (b.1973)

Everyone is afraid , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 70 x 110 x 5 cm

CAMA Gallery | Bita Vakili | For you

Bita Vakili (b.1973)

For you , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 70 x 110 x 5 cm

CAMA Gallery | Bita Vakili | From every bit of life

Bita Vakili (b.1973)

From every bit of life , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 190 x 190 x 5 cm

CAMA Gallery | Bita Vakili | I have been sleeping I have dreamed

Bita Vakili (b.1973)

I have been sleeping I have dreamed , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 60 x 80 x 5 cm

CAMA Gallery | Bita Vakili | Much later than now

Bita Vakili (b.1973)

Much later than now , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 125 x 125 x 5 cm

CAMA Gallery | Bita Vakili | On the verge

Bita Vakili (b.1973)

On the verge , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 185 x 145 x 5 cm

CAMA Gallery | Bita Vakili | The beginning The end

Bita Vakili (b.1973)

The beginning The end , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 125 x 125 x 5 cm

CAMA Gallery | Bita Vakili | The last treasure

Bita Vakili (b.1973)

The last treasure , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 70 x 190 x 5 cm

CAMA Gallery | Bita Vakili | The secret seed

Bita Vakili (b.1973)

The secret seed , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 70 x 190 x 5 cm

CAMA Gallery | Bita Vakili | Under my skin

Bita Vakili (b.1973)

Under my skin , 2018

Earth Pulse Signed, 2018 Mixed media on canvas 185 x 145 x 5 cm

Bita Vakili

Near the far - 2018

Earth Pulse series Mixed media on canvas 40 x 70 x 5 cm Signed on top CoA no. 1811061502026

This artwork is unique

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£2,000

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