Ma’arifa (Knowledge)

Farhad Moshiri's Jars series evokes the relationship between tradition and modernity in present-day Iran. His texts, sometimes appearing as often witty or banal remarks, are emblazoned on the surface, or depicted in a more traiditonal style. The present two works from this series reflect his ability to experiment with various techniques both in the physical production of the work and the elegant scripts in showcasing the single word Eshgh ('Love') and Ma'arifa ('Knowledge'). While Eshgh represents a rare stunning early example of the work, Ma'arifa depicts a more traditional, classical example of his Jar series.”

Ceramics have had a distinguished history in Iran, especially in the Islamic era, but originate from its distant pre-historic past. From the fragmentary remains at Susa, almost 6000 years ago, to Sassanian vessels just pre-dating Islam, to the technically advanced wares of 13th century Seljuk potters and 17th century Safavids, no other country in the region can claim such a close association to the art form.

It is this tradition that Moshiri is objectifying by creating paintings of pots and jars. Moshiri carefully achieves effects of three-dimensionality through modelling and shade to create convincing images of these voluminous vessels. However, his signature technique of folding and crushing the canvas, thus flaking the paint and mimicking cracquelure which, contrasted with the flatness of the background colour, remind one that these remain two-dimensional paintings and not three-dimensional objects.

There is no single shape of jar. Moshiri plays with many variations of the jar- sometimes more bulbous, sometimes with a larger flaring mouth. In the present work, the shape is suggestive of a mosque lamp yet still non specific. The repetition, variation and cultural relevance, combined with strong outlines which lend these images of jars a strongly graphic poster-like effect, making them true icons of Iranian Pop Art for the 21st century.