Reference

A surface only becomes visible as a surface on a surface if it differs from that surface in some way. Mehrdad Sadri,s imagery of painted folds becomes the creative design incident, the spatial illusion of which marks the difference between the image and the surface of the picture plain. Here the folds - either positive or negative according to the spatial dialectic of inclusion and exclusion that depends on light and darkness - with their different lavers and refractionss, do not only represent a means of planar and spatial differentiation in the tradition of a composed picture, but are also metaphors for the natural forces of generation and change, for covering and uncovering human physiognomies and states of mind and for the object worlds produced by humans.

References to the art history of the orient and occident cannot be overlooked either. "...the fold that continues into infinity is characteristic of the Baroque", Gilles Deleuze wrote in 1996. "At first, two directions are distinguis- hed there, two infinities, as if infinity had two storeys: the folds ofmatter and the folds in the soul."

Sadri,s objective and nonobjective illusionism sometimes produces those intermediate worlds that appear infinite and seem to constantly escape the viewer by moving from a state of not yet being into a state of not being any more, thus creating awareness of the fact that the process of viewing depends on space and time.
Univ. Prof. Mag. Dr. Peter Stasny

Art and artist cannot be separated from each other. The creation of a serious piece of art can never be detached from the artist's personality. In a piece of art the artist opens up his inmost world and reveals his feelings and thoughts in a very personal and creative act. Although certain things seem to be hidden and secret in Sadri's paintings, impeding an immediate access to them, it is just this secretiveness that accounts for an enigmatic and most seductive fascination in particular. In his paintings, Mehrdad Sadri often only alludes to human figures, he breaks them into fragments as he does with things that are increased and decreased in their dimensions, before he reassembles them in a different and new way. Extracted from their common environment, they lose their usual context and become forms of a characteristic and independent dynamism.

This process opens the way for a new vision, and also transfers the elements that we believe to recognize into dreamlike areas, detached from reality, as if veiled. Some paintings tell a story. Often it is the title that encourages us to search for what is hidden behind the surface of the painting.

With imagination and fantasy, all boundaries are removed, and we are allowed to penetrate into the - presumed - subconscious.
Univ. Prof. Mag. art. Sepp Moosmann


With the expressive means of cropping and blow up, the apparently fortuitous fall of folds is snatched away from its everyday triviality and, under a dramatic light, it is set up as an event of elementary, material and spiritual power. Like snapshots of movements brought to a standstill, the folds sometimes evoke natural forms, remind us of mountains and gorges, rock formations polished by water, and again and again of the human physiognomy.

What seemed to be hiding behind a veil a moment ago, sinks back as something hidden - before becoming too distinct - into the factuality of pure folds as a generating and creative principle.

Mehrdad Sadri's paintings - as well as his textile works in a stricter and a wider sense - bring up the theme of eroticism in its platonic double meaning of love of wisdom and generative power in its sensual and spiritual dimensions. The erotic dimension is only tangible where, in the aesthetic transformation of the real body, it remains at a distance to the real nature and concrete materiality.
Univ. Prof. Mag. Dr. Peter Stasny

 
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