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چشم اندازها در نگاه نخست مناظری ساده و خلاصه شده از طبیعتی زیبا هستند؛ رنگین و سرخوش...
نقاشی‌ها در صفحات دفترکشیده شده‌اند و با ماژیک؛ مثل یادداشت‌های روزانه از خیال‌پردازی‌های دور و دراز درباره جاهای دیگر. سطوح رنگین با ریزه‌کاری‌هایی از سنگریزه‌ها، علف‌های خودرو، ابرهای شناور، وکَرت‌های شخم‌خورده به یک خیال رنگین شبیه‌اند. مناظر بیشتر از زاویه‌ای بالاتر از افق دیده شده‌اند و حس سبُکیِ پروازی آرام بر فراز سرزمین‌های وحشی و بکرِ دوردست را با خود می‌آورند؛ آن‌طورکه در خواب می‌بینیم.
در مسیر ترجمه و تبدیل خیالات سیال به تصاویرِ یکباره و قطعی تناقضاتی پیدا شده که چشم را به خود مشغول می‌کند. جاهایی با هم جور درنمی‌آیند و مطابق انتظار پیش نمی‌روند و با تجربیات ما از دوری و نزدیکی و چین‌خوردگی‌های زمین و خط افق نمی‌خوانند. این‌ها به ظرافت حس امنیت اولیه از رویارویی با منظری آشنا را دستکاری می¬کنند و به بازی می‌گیرند.
گُستره‌های خالی از حضور انسانی با ترکیبی از طبیعت بکر و شبَهی از سازه‌های متروک که در دل طبیعت هضم شده‌اند، و مصنوعاتی که انگار به طبع اصلی‌شان بازگشته‌اند، آب‌بندهای در حال سرریز، گَرد سرخی که به هوا برخاسته، پرتگاه‌های عمیق، افق غیر تراز دریاها، مرز‌های نا‌مشخص پایین و بالا، رنگ‌های دور از انتظار آسمان و زمین، ...کمتر از آنچه در ابتدا می‌نمود آرام و بی‌آزار و خُنثی هستند.
احساسات مغشوش و بلا‌تکلیف ما در مواجه با مکان‌های پرت‌افتاده و جاهای بی‌نام را اندازۀ کوچک کارها تشدید می‌کند؛ کوچکیِ تصاویر مترادف با دوریِ مکان‌هایی‌ست که از آنها چیز زیادی نمی‌دانیم؛ بی‌اطلاعی وگنگی‌ای که ذهن را می‌گزد و در عین‌حال حس شیرینِ بارقۀ به‌یادآوردن صحنه‌ای از رویا در فاصله پلک‌زدن را دارد. مثل نقشی که پشت پلک شکل می‌گیرد و محو می‌شود و میلِ ما به بیشتر دیدن، واضح‌تر و بزرگ‌تر دیدن، میلِ تصاحب‌گرِ چشم حریص ما را به چیزی نمی‌گیرد و ناکام می‌گذارد. هر تصویر مثل دریچۀ کوچکی به جایی دیگر است. اندازۀ کوچکش فاصله ما را با آن حفظ و یادآوری می‌کند و آن را به صورت چشم‌اندازی دور از دسترس و غریب و خواستنی نگه می‌دارد؛ تصویر فرّاری که هست و نیست.
هُدا اربابی- مرداد1393
In the first look, the Landscapes appear to be plain scenery or curtailed versions of a beautiful nature; colorful and jubilant…
They are painted in a notebook with markers, like a diary kept of far-off dreams about other places. Bright surfaces with details of pebbles and weeds, floating clouds and ploughed lands resemble a flamboyant dream. Most of the sceneries are seen from an angle higher than horizon, carrying along the light feeling of a gentle flight over remote intact lands, as felt in dreams.
In the process of personal interpretation and turning fluid imagination to solid images, however, some paradoxes come to attention. There are some discords here and there and not everything looks as expected and not all details comply with our experience of nearness and distance, earth’s wrinkles and horizon line. Very subtly, such anomalies disturb and manipulate the initial sense of security we feel when we front familiar scenery.
The spreads void of human in a mishmash of intact nature and vague imagery of abandoned constructions that are somehow assimilated in the heart of nature, as well as manufactured constructions that appear to have returned to their origins –overflowing embankments, red dusts raised in the sky, cavernous cliffs, uneven sea horizons, indistinct top and bottom edges, scarce colors of sky and earth – after all are not as neutral, harmless and tranquil as they appear to be in the first place.
The small size of the works intensifies the perplexed and ambiguous feelings one experiences in encountering isolated and unknown places; the small scale of each image is equivalent to the farness of locations we do not know much of. It is the kind of bafflement and ignorance that stings the mind yet brings along the sweet sense of the moment of remembering a dream on the spur of a blink; like the patterns that are formed behind our eyelids but disappear rapidly, leaving the possessive desire of our greedy eyes to seeing better, clearer and larger unsatisfied. Each image is like a small window to a different place. The small size of each painting emphasizes our distanced relationship with it and keeps it as the far, unattainable, desirable exotic landscape as it is; a volatile image that fades in and out.
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
