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Artist Statement

Landscapes series

The first time I started painting with oil color I was fourteen. With love for Van Gogh's and impassioned response to landscape, I went into the countryside surrounding my ancient native city of Esfahan in search of beauty, sunlight, and nature. I recorded what I perceived, as expressively as I could. The lovely Zayande River and the trees along its shores were favorite subjects. I listened to the melody of its flowing water and was captivated by the mountains, shaped over thousands of years that were visible in the distance. I now work in a basement workshop in a typical, suburban house in a Canadian city called Coquitlam which is close to the far bigger and better-known urban centre, Vancouver. Although my present place is located in a green and mountainous region of British Columbia .but these days I rarely venture into the woods to create landscape images. my “WANT” tell me that I “SHOULD NOT” replicate what I see with my eyes about nature in the real world. I choose, rather, to expose sensations of nature that are personal and private within’ me. What you see in this presentation( Kuwait Museum of Contemporary Art ) arise from the complex, sometimes interrupted, processes and struggle each underwent before the individual pieces in this group were deemed finished These artworks depend on techniques I’ve been experimenting with for several years, that reached an earlier stage of maturity during the last phase of the Nostalgia Series which was first exhibited in1996 in Kuwait*and year 2000 in Vancouver Canada. . Most certainly my present methods of image-making are in complete opposition to the strict disciplines of traditional Persian miniature art and calligraphy that I learned as a youth. These days I don’t work within tradition or geographic boundaries but fully try to reflect the contemporary and the international ambiance that surround me. As a result I am free to mix all media, work broadly or delineate with a fine brush if I so choose. Sometimes I rub paint on with my hands, use a scraping knife or even a scrap wood to apply the oils onto canvas. Charcoal, graphite, scarps of paper and other materials contribute to the layers of meaning and density of surface. But I am still in love with the smell of oil in oil color as I was as fourteen years old. Now when I am working, the distorted sounds from the old radio bring me news from far away places. The collection of photos and news clippings that surround me, feed Nostalgic Land-scrapes in my mind, and as I drink my black tea I truly understand now Vincent Van Gogh voice: “Suffering as I am, I cannot do without something greater than myself, something which is my life -- the power to create.”

Orange Pomegranate series

Artist statement for orange pomegranate collection 2003. To all daring women who continually scratch the wall This painting collection is yet another work of a glancing eye of my perpetual return to the past. Like all memories, some are mystically sweet and some horribly nightmarish. They are localized gazes at the Persian-ness of time- space continuum in my memory. Cut pieces of newspapers, listing hope and fear, old manuscripts commanding should- not be forbidden (smiling, loving, looking, wanting, kissing…) They are all my materials and works in creation, which get manifested in different forms and compositions. I feel I have a special passion, kindness for all those humans, including their evil and goodness. I even believe in a sort of wisdom exiting in their insanity and their rushing moves which are parts of their true feelings, unedited reactions. The impact of the culture and the historical artifacts on human being engages me intensely .The present work is a natural result of this time, space, perception and dynamism. As an expressionist painter my present show is an attempt to share the transcendental enthusiasm that I experience at the time of painting, with it is entire possible dimension. It is my passion to do this transference, as complete as I can or know, with loyalty to the ways of painting making and modern grammar. Reza Doust 2003 Vancouver.