One Work: Arghavan Khosravi’s “Black Rain”

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JPEGs accomplish no favors for Arghavan Khosravi’s work; although they give the affect of being flat and one-dimensional online, the artist’s canvases are emphatically sculptural in person, with intricate constructions, illusionistic makes utilize of of depth and surface, and lifelike, nearly exclamatory incorporations of discovered materials. Their complicated relatives all attend to reveal an Iranian lady’s behold of her homeland’s repressive non secular and cultural mores. Utilize Black Rain (2021), from her recent exhibition “In Between Areas” at Rachel Uffner in New York. Six otherwise formed helps fabricated from wood and canvas—discrete image planes—combine to safe a total. Within the foreground, an unnaturally crimson-hued hand, cut out of thin wood, curls eventually of the neck of a girl painted on a gigantic canvas stretched over an eight-traipse-deep box. Practically the total works in the exhibition feature a girl with a pensive test and redacted facial expression—a shaded rectangle overlaying her eyes or a series locking her mouth—who appears to be like to be a psychological stand-in for the artist.

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In Black Rain, the girl’s fastidiously cropped portrait finds her ear, wisps of hair, the aspect of her neck, and the collar of her crimson shirt. From her ear dangles a tall key, which in Khosravi’s lexicon would possibly perhaps perhaps well symbolize a releasing of sorts—from Iran, from gender expectations, from fundamentalism—in particular if we scrutinize the aloof existence on the canvas in the encourage of it, in mid-flooring. A shackle rests originate, as if unbiased unlocked, and is “chained” to 6 balls by a right wire looped thru the fragment. Whereas the imagery is heavy-handed, it truly works in Khosravi’s hyperrealistic model, which is narrative in the form of a comedian guide guide (she used to be also trained as an illustrator). The parts closest to the wall are a slower be taught: a man’s head is bring to a standstill beneath the eyebrows, spraying tons of of falling dots, while a girl’s head is hidden by a guide whose cloak is cut out of the canvas, exposing the wall in the encourage of. Layered with Khosravi’s other symbols, the juxtaposition suggests recordsdata is both a portal to freedom and a instrument for independence.

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