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Nature,
My
True Inspiration
Visitors
are haunted by the tranquility they find in Majid Saraafis paintings |
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Green, as I want
you,
Green the wind blows through,
Green the leaves stand,
A horse on the high land,
A boat in the sea,
A little girl will see,
Dreaming in shadows,
From head to toes,
Hair and faces green,
People of metal green,
Green, as I want you
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Water colors lingering in gentle shades
of green, trees across plains, clouds moving to horizons. These are some characteristics
of Majid Saraafis paintings. Born in 1947, Majid Saraafi majored in English
Literature. He has been painting since early 1960s, while practicing calligraphy as a
second passion. Believing that his works were too personal, Saraafi refused
staging an exhibition for several years.
Finally after 30 years, he gave in to the insistence and encouragement of friends by
staging an exhibition of 99 paintings in 1994. This led to other exhibitions, all of which
welcomed by great public enthusiasm. In the following interview, the artist explains about
his paintings, his style and his inspirations:
How do you interpret the public enthusiasm
toward your exhibitions?
Visitors say that
they see a new, alternative style in my paintings. I believe they find some kind of
tranquility in my works. This tranquility lies deep in the heart of nature and green is
the main color to relay this sense. As a result of this acceptance, a majority of my 99
paintings created in the past 30 years have been sold in recent exhibitions. Such
enthusiasm, of course, encouraged me to stage more exhibitions.
What are the main
reasons behind your inspiration by nature? How is nature formed on your mind in the way
that you describe?
The main feature in my
paintings is green factor found in natural settings such as farms, plants and
particularly trees. Trees have various forms, colors and outfits that add a unique beauty
to the nature. The natures green element indicates life, growth and evolution. One
can find life wherever there is the green of nature. Scenic forests, green orchards,
expansive farms and green pastures are in fact the results of my mental and visual
inspiration. You can establish a special relation with trees by combining passion and
precise vision.
Some trees are bulky, some tall and some small. This beauty can be very exciting if
noticed carefully. Also, the colors of trees and plants scattered in nature create
charming contrasts under sunlight. Rays of sunlight or moonlight through the trees will
double the beauty of the whole setting.
Please elaborate
on your collection called Nature in Vision.
Paintings in this collection are
generally my impressions of nature through a lifetime. Some of them have been painted
consciously, and some others subconsciously. They are manifestations of my mentality; none
of them has ever been inspired by an external theme. In other words, none of the paintings
represent a specific setting or a particular scene. They are purely mental and
experimental expressions.
Therefore, it is impossible to match my paintings with reality and the title Nature
in Vision refers to this fact. No fixed rule has been observed in painting these
works. For instance, perspectives and dimensions may seem odd in some cases; just as human
imagination does not follow any rules. An absolutely free choice of colors has been used
to represent the nature while light beams have been applied for separation of scenes.
Single colors will be no more than elements in a work of art; like words in a literary
criticism. However, when combined with other elements, they create fascinating scenes
which become innovative works. Accordingly, human imagination records scenes of nature in
special forms. Reflection of mentalities and recollections to visualize painting is a
process of recalling past experiences. Consequently, natural scenes in ones mind
float between dream and reality.
What is your
style of painting?
Let me first
provide an introduction. In 19th and 20th centuries, different styles were created in painting and artistic creation which
led to a new dimension in visual and mental application. The results were new works of art
based on personal experiences. This development emerged in all fields of science and
humanities. Afterwards, a new development started in imaginative arts that created a new
atmosphere in artistic impressions. Following this trend, I only paint my mental
impressions and refuse to mention a title for my style.
How do you
evaluate the status of art and young painters in Iran?
Before adopting a style, an artist
must reach a level to relay a mentality in his work. A valuable work is an original piece,
not a copy. There must be powerful means to introduce art and art galleries to the youth.
It takes publicity and a cultural trend to attract the youth to art galleries and cultural
centers. To artists, public acceptance and enthusiasm is the strongest encouragement. |