We suddenly enter to the land of myths and
stories and a powerful hand is turning pages of history. From “Kelileh &
Demneh” to “Shahnameh” and \"Sa`di\" fictions. Incredible perspectives
capture and inspire us. What remains of this struggle between artist and
artwork is the image of eternal fight between human and nature. Passing among
fire. Fight between whale and the holy prophet. Struggle with an evil who
represents the dark side of nature. Human survives this battlefield and reaches
to everlasting peace with nature. A peace which can be seen in Aleen’s two
paintings of rooster and peacock.
Skillful touches of artist’s hand which remind
us of “Siahqalam” and “Moeen Mossavar” (Iranian painters) finally reach
to peace with nature. As if these motifs are supposed to depict eternity, an
eternity which has been engraved on a wooden stamp like drawings on prehistoric
caves’ walls. Form and idea get united. If we claim historical originality, our
materials should have a sense of originality. “Qalamkar” fabric and wood. The
artist‘s fingers has engraved the struggle between nature’s forces and human
and his ultimate victory in an elegant way.
When
we see creating process of the last painting as a three-act play, the
peace-making passage from dark corridors of history becomes more obvious. First
act is a sketch with prominent, curvaceous lines in simple colors. The next
play is just a wooden stamp and in the last play we only see the stamp
being soaked in ink and printing the motifs on \"Qalamkar\" cloth. This
is the point from which you can overstep \"traditional\" art boundaries
and call this collection an attempt to seek fundamental roots of \"history\".
History has only one meaning; a struggle with a will to conquer the \"Other\".
Mehdi Hosseini\'s artworks are simply expressing this idea.