Prowling
Inversion Collection
First observation – One side of the coin
The flow of the universe is unbreakable. It is not like a factory production line, which is brought to a halt by any error or disturbance. The universe is unaffected by human actions and will carry on without us. In peace and quiet without humans, the earth will heal. Nevertheless, our unfavourable actions make life heartbroken. And in our inverted efforts to make life better, we stab on the body of Mother Nature. Nevertheless, People live, and the life cycle goes on, but I sarcastically wish it were like the production line of a factory that has been being failed with the slightest mistake and, as a result, everyone could be aware. If humans did have the power to destroy the universe, perhaps such a grave responsibility would allow us to see clearly.
I don’t believe ignorance is rooted in human nature, nor is it the essence of existence. Ignorance grows from living without reverence for the mystery of the universe, and from the urgent collection of material possessions, rather than reverence for the uniqueness of existence itself. In the Inversion collection, erratic forms with no unity of gesture act out a carnival of irrational chaos. Babbling their own stories, existing in their own time, and unaware of each other, their naive dance may be funny and endearing, but they are cruel and destructive without knowing. This dance is an inverted bustle: a comedy of errors, in which the perceived path forward is all wrong. Two steps forward and a calamitous collision transpires.
The aptest style to depict ignorance and chaos is the lack of any particular style or cohesion. I applied various formal techniques and methods, resulting in awkward and theatrical visual conflicts between the pieces. It’s as if the pieces are greedily collecting as many features as possible to appear as the best sculpture amongst their peers. But despite this variation, the pieces share some commonalities. By no means is the artist a god, but they all came from the earth as clay and animated by my hands. If the collection is a metaphor, then each piece might be a human celebrating some inverted accomplishment or invention, without recognition of the universe, which enabled him to act out his passion in the first place. Where humans believe they are awesome, they are ignorant, but when they acknowledge the chaotic dance of humans, they are falsely and feebly helpless.
Reza Hosseiny
2021