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Pooya Abassian is a young Iranian artist born in 1983 who lived in France since few months. He defines himself as an illustrator and a graphic designer. His work is inspired by the Iranian tradition of painting and contemporary political realities of his country. He has also directed several videos including Nature Regulate a music Birdpen in 2011.
He has participated in group and solo exhibitions at Mohsen Art Gallery, Tehran.

“Untitled - U308”
collage, pencil and acrilic on paper
50x65 cm

Exhibitons "Yellow" at Galerie des petits carreaux  from 28 to 8 of september 2012

Group show Interdit aux mineurs :

Slick Paris 2012 :

Aklil-Al-Molook project;
By Pooya Abbasian and Farshid Monfared.

This exhibiton was held in Mohsen Art Gallery in February 2010
Statement :

"It seems that the history of Iranian painting (Nega’garehs) has stemned from three sources. The first could be conceived as the semiotic system of Iranian mysticism, which, through providing a common symbolic order between the artist and his contemporaneaous audience, made the golden skies, the silver rivers, and the halos, palpable and fmiliar. The second was the governemental system wich, bu funding the artists, made room for such works to be executed - a traditional government, whose ideological and political influence, of course, couldn’t be ignored. The third rendered a composition consisting of the social context on wnich the artist was grounded and the impacts of other nations on the art of that particular area. In times Chinese, in other times Byzan- tine and Turfan paintings each lent some of their visual elements to Iranian painting so as to be translated by Iranian painter according to his particular social context. By centuries, the audience of Iranian painting was always familiar with triple source while knowing how to mentally reach to the subtext of the work. However, the transformation within Qajarid era - especially, the influx of modernity - severed the close ties of audience with previously accepetd sources. Houses, cos- tume, communication devices, and many other aspects of everyday life became increasingly subjected to change. If employed new visual elements seemed unaccustomed at the end of Safavid era, this time, at the eve of new century, what appeared even stranger was the very aspiration for the survival of the language of Iranian painting.
Thus, a new generation of painting emerged, carrying a false name, ‘miniature’. It attempted to retain something of the tradition while persisting to attract the contemporary audience. The golden skies, the silver rivers, the flaming trees, and the colorful birds, all became void of meaning, as a result of disrupted link with the first source. The elements of the Ideal world as a lamé with its golden wraps pillaged were reduced to a beautiful icon replete with nonsense. Parallel to this, the other two sources continued their tasks in a new way: The dignity of the Ideal Beauteous became a site for manifestation os mastery in plastic surgery. The eyes grew larger as the noses tended upwards. The Sormeh (Collyrium) which seemed an eternal phenomenon was replaced by a heavy make-up that could be removed at night with a cotton pad. However, curling garments and deer were still there. The result is a semiotic, and of course visual, disorder originating from the third sourcde, which could be seen both ironically and wistfully."

Ali Ettehad, Winter 2010

Artist's website :