Farhad Moshiri is active/lives in California / Iran, Islamic Republic of. Farhad Moshiri is known for impasto pop art painting and sculpture.
Biography from the Archives of askART
In his Candy Store series, Farhad Moshiri applies brightly coloured
"pies" of acrylic, extruded through an icing sugar tube, to highly
kitsch paintings on canvas, giving the works an almost edible
appearance. Here the image of a fashionable girl in a headscarf
speaking intently into her mobile phone is constructed entirely of
these multi-coloured almost fluorescent "pies". Superimposed as
it is upon an underlying painted multi-tiered cake executed in a
polished, cartoon-like way, the dual imagery provides an impression of
that which is sugar-coated, artificial and saccarhine to the extreme.
Biography from Sotheby's Doha
Moshiri makes sense of this juxtaposition by judicious use of material
and theme- that of which the girl is made resembling closely that which
decorates the cake. Displaying his characteristic wit, by pairing
these two sets of imagery, instantly recognizable yet rarely seen
together, Moshiri creates an implied yet ambiguous sense of narrative
and social comment.
Farhad Moshiri's fascination with Pop Art is well-documented,
channeling far-ranging influences in his work from Marcel Duchamp, Andy
Warhol, and more recently Jeff Koons. Much like the work of
Warhol and Koons, Moshiri's Mobile Talker extols the
gratification of human aspiration and desire through the elevation of
consumer goods. Moshiri, using this visual vocabulary brings his
own cultural baggage and gleeful sense of play to his Iranian subjects
including history, identity and contemporary culture.
thirteen years working and studying in Los Angeles, Moshiri settled in
Tehran in the early 1990s, drawn by the blossoming of artistic
expression epitomized by the international success of Iranian
cinema. Upon his return, the artist was interested in observing
the new social classes that had emerged in post-revolutionary Iran and
who flourished following a new climate of measured tolerance and
The dynamic and seemingly contradictory forces presented by a
conservative establishment and a media-savvy younger generation has
provided Moshiri with the raw materials to produce art that
successfully broaches cultural and aesthetic biases.
The meeting of East and West, of tradition and modernity characterizes
Moshiri's practice and now forms the matrix of Tehran's burgeoning art
scene. Yet, whilst artists working in Iran today are not entirely free
to make direct political, social, or religious critiques without
risking outright censorship, Moshiri has found the means to use these
restrictions for his own ends. For this reason, Moshiri, like
many of his peers, values allusion, ambiguity, and subtlety-an
under-the-radar approach that verifies, among other things, that pop
culture has long since infiltrated borders in Iran just as surely as it
has everywhere else in the world.
Christie's Auction House
Farhad Moshiri has explored the artistic potential of
various mediums throughout his successful career. After studying art and
filmmaking at the California Institute of Arts (CalArts) he spent
several years in America before returning to Iran and producing his Jar Series,
which marked his rise to becoming an internationally acclaimed
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He has exhibited extensively on the international
level, with major solo shows in Rome, London, and Berlin. Moshiri's
work frequently combines an understanding of Iranian visual vernacular
with wittily satirical references to popular culture, whilst also
drawing upon the rich traditions of Iran's artistic and literary
The Jar Series, is
one of the most important and instantly recognizable sequences of his
career to date. His jars are variously influenced by the amphorae of the
pre-Islamic period, namely Sassanian remains, the thirteenth century
Seljuk potters in Persia, and the extraordinary archaeological riches of
Iran. The creation of the Jars is a painstaking process: the
fragility of the craquelure within this piece is the result of Moshiri
patiently applying layers of paint before folding and crushing the
canvas. Set against a plain white background the viewer is encouraged to
consider the object in its entirety and without extraneous distraction.
Moshiri's decision to celebrate a humble utilitarian object marks his
commitment to continuity and tradition: "I had picked as a subject
matter an object that the first man had made and here I was, thousands
of years later, doing the same thing again, despite every revolution,
all the changes that had happened."(The artist cited in: W.
Singh-Bartlett, "Farhad Moshiri When Ancient becomes Modern", in: Canvas magazine, Vol. I, No. 5, September/October 2005, pp. 76-79).
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