{"id":29416,"date":"2023-07-19T13:53:36","date_gmt":"2023-07-19T04:53:36","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=29416"},"modified":"2023-07-19T15:48:32","modified_gmt":"2023-07-19T06:48:32","slug":"claustrophobia","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/29416","title":{"rendered":"Claustrophobia"},"content":{"rendered":"

2023. 2. 24 – 3. 17
\nMohammad Khalili<\/p>\n

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Installation View, Claustrophobia, SARAI Gallery (SARADIPOUR)<\/figcaption><\/figure>\n

SARAI Gallery (SARADIPOUR) is pleased to present Claustrophobia<\/em>, Iranian painter Mohammad Khalili\u2019s latest series of paintings and monoprint drawings at SARAI Gallery. Marking Mohammad Khalili\u2019s (b. 1971, Iran) first solo exhibition at SARAI Gallery, Claustrophobia<\/em> opens on February 24 and it will continue to run until March 17, 2023.<\/p>\n

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Installation View, Claustrophobia, SARAI Gallery (SARADIPOUR)<\/figcaption><\/figure>\n

Mohammad Khalili has been known for his deeply meditative and quiet landscapes depicting decaying man-made structures in dreamlike and timeless places. Human presence \u2013 if any \u2013 are few, isolated and minuscule, arousing a cocktail of senses including loss, wonder, loneliness, and vulnerability against the vast openness sometimes mixed with a strange feeling of dread.<\/p>\n

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Mohammad Khalili, Untitled, 2020, Acrylic on canvas, 50 x 70 cm<\/figcaption><\/figure>\n

The passage of time and the evolution of matter is also something that has always been reflected in Khalili\u2019s work. Large monolithic surfaces bear signs of weathering or rusting created by the artist not by realistic representation but through replicating reductive effects of time and nature on his working material, i.e. paints, using techniques such as thinning paint or scratching the surface.
\nThe artist believes that besides technical aspects, his brushes tend to pick up the ethereal qualities of time, memory, and introspection in \u2018constructing\u2019 his visually captivating, forgotten monuments.<\/p>\n

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Mohammad Khalili, Untitled, 2021, Acrylic on canvas, 200 x 230 cm<\/figcaption><\/figure>\n

The present series consists of a selection of large paintings and monoprints that the artist began to create in 2019 after being attracted to a set of derelict, roadside structures on a trip to northern Iran. Mohammad Khalili was particularly captivated by the sturdy, heavy geometric units stacked upon each other without any mortar or other binding elements, making the resultant form ironically rather unstable and fragile to the external forces of nature.<\/p>\n

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Mohammad Khalili, Untitled, 2022, Acrylic on canvas, 165 x 200 cm<\/figcaption><\/figure>\n

As the title would suggest, the Claustrophobia<\/em> series offers Khalili\u2019s (1971) closest, tightest encounter with his favorite subjects: worn-out structural blocks so close that the sky and any other source of light are reduced in the composition in favor of menacingly enclosing cement blocks, cylinders and jersey barriers. Another significant element present in these works is water and how it penetrates these rigid and richly textured landscapes through its soft persistence.<\/p>\n

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Installation View, Claustrophobia, SARAI Gallery (SARADIPOUR)<\/figcaption><\/figure>\n

Here, the visual and sensual contrast between water and monolithic blocks is heightened thanks to the intimacy of elements in these tight spaces. The water through its light reflections brings a welcome counterbalance to each otherwise suffocating scene. Interestingly enough, while figures are rare, one can sense a more private kind of presence in these locations, one\u2019s own! It is as if the viewer has dream-walked into any of these otherworldly enclosures. Claustrophobia<\/em>\u2019s landscapes ultimately inspire a sense of initial calm followed by anxiety, as the viewers gaze upon aging structures at the mercy of an \u2018unpredictable future\u2019.<\/p>\n

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SARAI Gallery (SARADIPOUR)
\n3rd Floor, Neda Building, Maroon Street, Mahshahr, Iran
\n+98 (21) 2842 4712<\/p>\n

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