Who are we to obscure the tragedy of laughter? The political contour of ever-evolving sorrows intertwined within our joyless gazed eyes contentiously define the tragedy of selflessness. The norm that entails its roots from an ongoing study of childhood memories. Hadis Vahidi’s latest work, “Tragedy of Obscure”, is an idea, a name, that structures its presence from her personages of childhood memories that are felt as floating sensations in her life. At times, their precipitous presence defines her embarrassment for selflessness and at times they trim the disciplined habits. Her work comes from an on-going non-geometric study in the architecture of haunting distortions of organic forms in her childhood memories.
The unpleasant retrieval of memories portrays the joyful laughter she sees in her sensations and connections that their relevance cannot be found. There is no attempt in showing pain or joy of the old memories as they are mere explicit sentiments.
The emphasis is on engaging the audience within this obscure gap that is challenging for her. Hadis makes an effort in creating the layers contained in the number of paintings which frequently sat on top of each other to show the misty memories and deepness of times well passed. Top layers, the wizard that is scrambling to cover the perceptions but still plaintive. The past is continuously exposing.
“I am more than ever for the impression through memory, it renders less of the object–– vulgarity disappears, leaving only the undulation of the truth that was glimpsed, felt.” In Camille Pissarro, Letters to his Son Lucien, ed. John Rewald (New York: Pantheon Books, 1943), p.195.
Dynamo art association
Annual international Mail-in art exhinition
Social assistance municipal youth center
International islamic contemporary painting