Morteza Darehbaghi

An abstract search for man and nature structured my ideas as regards the immediate surrounding, motivating me to set my “a priori” knowledge along with imagination, depicting the pastoral man in his innocence and liveliness, thus incorporating nature into man, who considered himself part of, and belonging to, nature. This idea characterized my earliest paintings. The image of a light, luxuriant atmosphere of the ancient eras prompted me to search for them, serving as an unconscious drive behind all my attempts. A great yearning for the past traditions and ancient civilizations was responsible for the emergence of certain motifs and elements, such as fretwork, figures of Persian painting and geomtric pictures. My works in this period are marked by the use of geometrical configurations, level and color planes, and a tendency toward aggrandization.
The young generation of artists, following the social upheavals, war, and crises they went through, are trying to materialize their ideas. Aware of the magnificent art of the past, this generation has attempted to elucidate their ideals. This period is further characterized by ambiguity of forms, so that, in these works, man doesn’t appear distinctly but his true presence can be felt all the more emphatically. Here, form manifests an inner charm, which leads to something like an epiphany, being deeply rooted in dreams and visions. Thus, the thought transcends the canvas. An interest in tradition, being with me all the time, was so persistent that it permeated even my conceptual works. Religious signs and symbols, seen through a modern eye, all arose from the same religious and traditional notions that I have entertained. My childhood, along with religious ceremonies, has been responsible for my present creativity, which seeks a way to link the past to the future.