Emmenbrücke LU - 30 January 2010 - 6 March 2010
Pooya Aryanpour - Floating objects under emotion
The Iranian artist, Pooya Aryanpour paints pictures which radiate a powerful dynamic and at the same time a delicate lightness.
Pooy Aryanpour opens the stage for the elegant pirouettes of his brush lit by spotlights on atmospheric backdrops. Delicate shapes float on the canvas, mostly painted in white, which remind us of smoke rings lost in thought. The artist seems to have caught the delightful vapour forms just before they dissolve into the air. This successful illusion of fleetingness is a particularly fascinating element in Pooya Aryanpours painting.
The main roles in his paintings, however, are not only played by intricate lines on the borders of abstraction, but also the concrete echos of flower blossoms and leaves, of medusas and birds, of cell structures, lettering and musical notes. The artist sees his work with its latent references to the living environment as a philosophical interpretation of reality. He does not say that each piece of his work starts with a noise or a tone for nothing: in the rhythmic structures and also in the lyrical unfolding of the lines it seems to be possible to hear the sound as a kind of ceremony.
The astonishing dexterity with which Pooya Aryanpour steers his brush can also be attributed to his practiced hand at calligraphy. He leads the artistic compositions of letterings from a greater ornament to a free abstraction. With this, he finds a contemporary form of expression for the traditional art of calligraphy.
The atmosphere derived through the colours is also of great significance to the artist. In his work to date, he has always concentrated on effectively reduced contrasts. Earlier works emphasise the subtleties of the white woven lines on a signal red base or with a black background giving it the effect of a poetic x-ray image. The fine grading of the white tones to a delicate transparence demonstrate that Pooya Aryanpour knows how to move within the colour values with the greatest of sophistication.
Julia Häcki, Art-historian, Zurich, January 2010


