“Worthy Repetition” unfolds as a profound exploration of human progression through repetition and practice, both physically and intellectually. The installation features forty ceramic reliefs, each approximately 20 cm x 20 cm, adorned with the word “love” in diverse combinations and colors. This array encourages viewers to engage in a collective repetition of the word, seeking to elevate understanding of the profound importance and impact of love in everyday life.

This evolving work within the “Upright Collection” is a meticulous study of love through spiritual and ideological lenses. In its latest iteration, “Worthy Repetition” emerges as an experiment in generating love. The question posed is whether forty literal and sincere expressions of love, each crafted with thought and care, can conjure love itself. The reliefs, featuring both English and Farsi, explore typography and create stylistic connections between the characters and fonts of the two languages.

Installed on a single wall in sporadic or periodic combinations, the reliefs suggest the explosion of the word “love” from an untraceable or traceable source. This deliberate arrangement prompts contemplation on the potential for love to manifest through repetitive engagement with the word.

Beyond a mere artistic endeavor, “Worthy Repetition” becomes an act of resistance against mass production and meaningless labor. It challenges the dehumanizing nature of factory production lines, emphasizing that every act of creation is an unpredictable outcome crafted with care, intention, and delight. While sharing a common shape and format, each relief stands as a unique act of love, countering the uniformity of mass production. In essence, “Worthy Repetition” transcends being solely forty expressions of love; it is a collection of forty distinct acts of love.

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The cultural character and vitality of all communities are complex. They are too often identified by resorting to one or two easy statistical facts, clichéd narratives or stale pictures. Coming to a clear and adequate account of one’s community is difficult because of the relentless and transformative nature of
change. The introspective artist who looks inward comes closer to understanding and defining these intricate realities.
Drawing on more than one cultural repertoire, Iranian-born artist Reza Hosseiny has created a cross-cultural dialogue filled with delicacy, grace and astonishing beauty. Since the 1988s, his intricate ceramic works deploy a profound sense of personal exploration and temporal investment, social and
cultural commentary. The artist writes: “The flow of life is unbreakable and constant and does not relate to human actions. Even in the most inverted social activities, life is a process, as this is not like a current in a factory production line, which stops with the slightest disadvantage in the machines.
Matter is the flow of life and cannot be stopped by removing the most essential part of this flow, which is human activity.” Hosseiny reconciles: “What are the solutions to all those pain in the Inversion Collection? Love. Which I try to show [them] in the Upright Collection.”
The Inversion Project is Hosseiny’s meditation on the paradoxes between conflict and tranquility, calamity and splendor, the sacred and the profane. This solo exhibition congregates two interconnected bodies of work—the Inversion Collection and the Upright Collection—which explore the crossing of performative action, conceptual ceramics and hand-built pottery. Every piece radiates with meaning.
Hosseiny creates enduring bonds by amalgamating both Western and Middle Eastern concepts, belief systems and visual languages. Through this synthesis of his ancestral homeland and adopted country, he eloquently speaks from the “in-between” of varied social and cultural realities.
Olexander Wlasenko
Curator

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Scan Love

Loving is the cure for all pain. Love of the universe and everything in it. Let’s scan love! In my culture, love (Eshgh- عشق ) rooted in the name of a plant named “Ashaage- ”عشقه (Hedera Helix/Ivy). The nature of this plant is to twist (encircle) around and up everything. When this plant furls around a tree, it covers up the entire shape of a tree and makes it a new look. The essence of this plant is to wrap around and stick. In the work “Scan Love”, I ironically use a bar-code that is a symbol of commercial but in this job, it appears in a new shape and it is a symbol of love. Ivies are crawling up the tubes and trying to change the normal appearance of a bar-code and change its shape. Bar codes are an essential part of modern trade. Today, commercial advertising is not based on customer needs but on creating demands. When needs arise, it is easy to target customers and produce products based on customer necessities. So first, the markets are created, and then the productions are made based on the requirements. This work is asking a critical question: Is there anyone who makes the need to love and be loved? Is there a place to preserve love in the glamour of a variety of products? Here is the site for the power of love and the manifestation of love in the tumult of the love of power, fame, and expansionism. This Ceramic Panel contains 86 pieces of upward pattern tiles that patterns are made with the Engobe technique.
The size of this artwork is approximately 140×180 CM.

Check out Biafarin Award 2021

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‘Equality VS Quantity’ is a series of conceptual ceramic sculptures exploring questions of equality.

Passive and capricious Equal Couples are watching a victim of oppression, inequality, and rape. They stand up, not against injustice, but only to be seen as if they are holding a ritual ceremony instead of helping the victim. They feel fulfilled and are probably satisfied every night because they are equal. They have been appointed to participate in all societies that fight for equality. Have they achieved equality or just some Equal Quantities?

They are everywhere, but the Beautiful Painful’s pain continues! The Beautiful Painful has been forced to be in the middle to nurture and feed the Quantities. The Beautiful Painful is the best excuse for the standing-around Merciless Couples to be present.

I wish the Beautiful Painful was left alone with the pain. Maybe she could find a way to cure it.

This series of conceptual ceramic sculptures also can be displayed on a shelf, a buffet, or a dinner table. Used as vessels or vases. Fire temperature cone 6. Sizes for each piece: Thickest DIA: 3.25 inches, 3078 grams.Average DIA: 2.5 inches, 2219 grams. Thinnest DIA: 2 inches, 1769 grams.

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“Throughout history, words have served as tools for communication, aiding in the transmission of messages. In the realm of art, various styles have emerged over the ages to articulate the diverse forms of artistic expression. However, none of these styles can fully capture the intricate process of observation or convey how an artist navigates through a concept. These styles are essentially linguistic devices designed to enhance the relationship between a piece of art and its audience.
The term ‘Conceptual art’ is akin to the names of other art styles, offering a label that may not inherently provide a deep understanding of the conceptualization behind a piece of art. Sol LeWitt, a prominent figure in Conceptual art, defined it as placing utmost importance on the idea or concept within the work. However, this definition primarily addresses the form or work of art, not the nuanced process through which the idea is conceived and worked upon by an artist.
LeWitt suggests that in Conceptual art, all planning and decisions are made beforehand, with execution being a perfunctory affair. However, this overlooks the crucial aspect of an artist’s aim or concept, which precedes any plan and is the driving force behind the creation of any artwork. Additionally, the definition does not specify when or how an artist fully grasps the entire idea, leaving an incomplete understanding of the conceptualization process.
In reality, artists are not necessarily pursuing a specific form of art; rather, they are striving to convey a message to the audience in a manner that resonates with them. Art styles serve as mediums that transport a message, with the medium sometimes being bolder than the message and vice versa. Regardless, the concept always accompanies the entire process of creation, breathing life into the artwork. Without a concept, any piece of art would remain unrealized.
In essence, all art styles, whether categorized as pure or applied, are rooted in a conceptual framework. This is a fundamental aspect that underscores the significance of art. The study of art would be rendered meaningless without this understanding, as every work, regardless of style, is a manifestation
of a unique and vibrant idea. Whether the ideas are bold and consequential, as seen in Conceptual Arts, or the forms themselves are bold and critical, as in Photorealism, the essence of art persists—bold, expressive, and always alive.”

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“Illustrating imagination has perennially been intertwined with the essence of humankind, encapsulating one of the enigmas of art. Humans, in their conflict with nature and the assertion of dominance over it, have expressed these perceptions in varied ways. At times, these expressions are rooted in ethnic and tribal memories, symbolizing the identity of a specific people or nation. Conversely, they may emerge from the minds of those who consider themselves civilized, distanced from nature and grappling with the undeniable reality of human solitude in the contemporary world.
In both scenarios, victorious individuals have sought to document these ideas in the chronicles of their times, providing a glimpse into the human journey towards its ideals. Artists and painters, spanning diverse ethnicities and nations, play a pivotal role in this endeavor. Their efforts to solidify life and survival through the visualization of ideas contribute to the understanding and assertion of human identity and dominion over nature.
Iranian artists, or painters residing in Iran, have successfully portrayed their ethnic memories through various means. Often pioneers in creativity and innovation, they have embraced new approaches, drawing inspiration from the experiences of other nations. Given Iran’s geographical location, artists have sought to elevate their art to the highest levels, both in terms of quantity and quality.
The genesis of this human identity, rooted in creativity and innovation, is challenging to pinpoint precisely, as only remnants provide a glimpse into its examination. However, it materializes when humans recognize their existence as beings superior to other creatures and gain awareness of their capacity for thought and reasoning. This resurgence of innovation occurs when humans illustrate to soothe their minds, forge connections with others, or bring ideas to life.
The historiography of Iran diverges significantly from other human civilizations, marked by the unique perspective of Eastern painters, influenced by distinct views of the orient towards nature. Iran, being an Eastern country, embraces a mystical and abstract perspective on nature, contributing to the prevalence
of abstraction in its art. Iranian artists have demonstrated exceptional prowess in expanding their roles across various levels, manifesting in diverse designs and roles across mediums such as pottery, metalwork, book illustrations, and various handicrafts.
A distinctive feature is the ritualistic gaze of Iranian painters, often associated with post-Islamic eras. This spiritual outlook is not exclusive to post-Islamic times, as pre-Islamic civilizations in Iran also displayed abstract themes in their works. The intertwining of religious and abstract views is evident, as any religious view necessitates an abstract expression. Ritualistic art endeavors to address otherworldly themes, and this symbiotic relationship has been a constant in Iranian art.
Despite influences from Western culture and art leading to entirely naturalistic works in Iranian art, the prevailing themes often transcend the earthly to explore metaphysical realms. This inclination towards ritualistic and abstract expressions is well-established in pre-Islamic Iranian art, from the Elamites and Lorestan to the Achaemenids and Sassanids.
In conclusion, this book aims to analyze visual events in Iran throughout history, highlighting differences in painting compared to other countries, especially in the West. It delves into the remaining pre-Islamic motifs and images, exploring their persistence and transformation after the arrival of Islam in Iran. The purpose is not to compare Iranian painting with that of other countries globally but to offer insights into the unique evolution of Iranian art.
The book comprises two chapters, with the first delving into pre-Islamic motifs and the second exploring works post-Islamic era. The interpretation presented in this book diverges from conventional perspectives found in art history books, offering a nuanced understanding of painting in Iran. It aims to preserve the intrinsic values embedded in Iranian art, expressing gratitude to all true artists, writers, historians, and enthusiasts in the field of culture and art, both Iranian and non-Iranian, for their contributions.
This book is dedicated to the pure spirit of a kind mother and artist father, whose legacy continues to inspire and shape the artistic landscape.”

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Effective lecturing is an art that has evolved throughout history, encompassing various styles, purposes, and outcomes. The challenge lies in delivering a lecture that not only imparts knowledge but also engages and influences the audience. The effectiveness of a lecture is not solely measured by the volume of information conveyed but by its impact on the listeners. Drawing inspiration from historical examples, particularly the contrasting Roman preachers, highlights the significant role that the delivery style plays in shaping the audience’s response.
As an educator with over 15 years of experience, there is both the advantage of accumulated wisdom and the realization of the need for continuous improvement. A lecture can become a powerful tool for influence, provided it evolves with the changing needs and dynamics of the audience. Utilizing a lectern not just as a repository for notes but as a platform for dynamic engagement can be transformative.
Research findings emphasizing the limited retention of traditional lecture content underscore the necessity for innovative approaches. While embracing modern technology is essential, combining active learning strategies with lecturing can enhance the educational experience. The integration of group activities, questioning, and other interactive elements ensures that learners remain actively involved, fostering a more profound understanding and retention of the material.
Key strategies for delivering effective lectures include:

1. Unmissable Lectures: Capturing the audience’s attention from the beginning and maintaining engagement throughout the session.
2. Punctuality: Starting on time and adapting to the pace of learner arrivals.
3. Live Interaction: Making the most of the live lecture occasion by fostering an interactive environment.
4. Balanced Content: Avoiding information overload in the initial lecture to ease learners into the course.
5. Learning Outcomes: Clearly articulating the intended learning outcomes and relating them to assessments.
6. Visibility and Audibility: Ensuring that the lecturer can be seen and heard clearly.
7. Dynamic Slides: Avoiding lengthy slide displays and steering clear of reading directly from them.
8. Questioning: Encouraging learner participation through frequent questions.
9. Technology Usage: Balancing the use of technology without overwhelming the lecture with bullet points.
10. Active Learning: Consistently considering what learners should be doing during the lecture.
11. Note-Taking Encouragement: Encouraging learners to take notes actively.
12. Thinking Time: Allowing sufficient time for learners to process information.
13. Peer Interaction: Facilitating discussions among learners.
14. Brain-Friendly Approach: Balancing challenging and lighter content.
15. Humor Appropriateness: Infusing appropriate humor when suitable.
16. Relevance: Demonstrating the relevance of the lecture to learners’ concerns.
17. Session Linkage: Continually linking lectures to subsequent sessions.
18. Final Impression: Leaving a positive and memorable impression at the end.
    By incorporating these strategies, a lecturer can transform the traditional lecture into a dynamic and engaging learning experience, aligning with the needs of the new generation. Active learning strategies, technology integration, and a thoughtful approach to content delivery can enhance the effectiveness of lectures and contribute to a lasting impact on learners.

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Art exists on a spectrum where every piece possesses a unique blend of both applied and pure elements. From an applied perspective, artworks serve specific purposes, while from a pure standpoint, the underlying concept can be influenced by various motivating factors. Attempting to categorize art strictly into applied or pure forms may lead to the exclusion of artifacts that seamlessly integrate both conceptual depth and practical application.
In essence, art is art. Some works lean towards a dominant conceptual force, overshadowing their practical utility, while others showcase a stronger emphasis on application with a nuanced conceptual presence.

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