This artwork is a characteristic example of Moslemian’s unique style, which he arrived at through combining the influences of an abstract approach with the pragmatics of Iranian miniature. This style contextually is a type of romantic idealism that stands out as an important and influential example of contemporary Iranian art.
The paintings of NosratollahMoslemian clearly demonstrate a blend of art with intellectual concerns and a powerful use of impressionistic images and symbolism to extenuate human suffering and the umbrage of history. Over the last two decades, Moslemian’s works have been large paintings with critical subject matter composed of realistic and abstract images which communicate visually and conceptually with each other on a simple, mono-colored background. His impressive strength in uniting the various elements in his work, and their creative interaction with the empty space result in a complex quality of the dialectics of forms and space that is unique in contemporary Iranian art.
The result is an expressionistic painting with a somber and tragic theme which is both attractive and impressive.
On the one hand, the contradictions and double meanings in his compositions are rooted in Iranian culture, especially Persian literature -toavoid an explicitstatement he expresses his rage throughallegoricalreferences, allusionsandmetaphors. On the other hand,eluding to the thought process resulting from the double-edged Aristotelian viewpoint and a continuous encounter of logic and emotion, fact and fiction, objective and subjective, masculine and feminine, etc. In Moslemian’s work we encounter these images as catastrophe and beauty, crisis and peace, love and rage. These conceptual paradoxes have permeated the range of form and composition and are responsible for the collection of contrasts and visual conflicts.
In this work, there is also a feeling of sadness and sorrow of the feminine type mixed in, in such a way that all of the masculine figures in this composition are distanced from this grief. It is clear that in our tragedy-filled history, men have played the antagonist and, while women appear as mournful witnesses, they have played the part of the protagonist.
Moslemian’s visual world is multifaceted which precludes it from being labeled, whether with regard to his style and technique or for the anarchy and chaos of imagery. He is a complex artist who uses fairly detailed figures in realistic portraits alongside action brushwork and even emotive dripping of paint on the canvas in a totally abstract space.
It should be added that NosratollahMoslemian won first place at the Beijing International Art Biennale in 2003.
