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Lot Essay
Painted in 1967, Charles-Hossein Zenderoudi’s BARGE + ZARD pushes aesthetic frontiers that shed a modern light upon Eastern ancient philosophies. Since the 1960s, Zenderoudi lived in Paris and was immersed in Western artistic rhetoric of the time. He sought to explore calligraphy and abandoned an earlier celebrated style of iconography.
BARGE + ZARD uniquely presents an opportunity to recognise Zenderoudi’s occupation with an evolving language, one in which clarity reigns to evoke an underlying spiritualism, as letters swirl and become indecipherable bestowing both harmony and chaos. The letters intersect within each other in a multitude of greens, yellows, oranges and blacks that dominate the canvas and thus offer minimal empty space. The letters, the building blocks of language, are rhythmically presented and intertwine. An illegible language is manifested in these saturated hues and the instruments of communication are represented to portray an aesthetic appeal that reconfigures and liberates their purpose and functionality.
BARGE + ZARD uniquely presents an opportunity to recognise Zenderoudi’s occupation with an evolving language, one in which clarity reigns to evoke an underlying spiritualism, as letters swirl and become indecipherable bestowing both harmony and chaos. The letters intersect within each other in a multitude of greens, yellows, oranges and blacks that dominate the canvas and thus offer minimal empty space. The letters, the building blocks of language, are rhythmically presented and intertwine. An illegible language is manifested in these saturated hues and the instruments of communication are represented to portray an aesthetic appeal that reconfigures and liberates their purpose and functionality.