Materials are the intermediates between the thought and the execution of the artwork. Materials and their effects on two dimensional surfaces. Sometimes the material and its presence in the artwork, overcomes the inception of an idea. Until that time the idea becomes lost in the labyrinth of the physical presence and linguistic structure of the artwork. But this is the moment that the affect of the materials on the surface turns into a thing that moves on the border of the aesthetic. Something between thought (logos) and unthought (pathos). Something out of the artwork which is trying to disrupt the order that rules the aesthetic.
This, in the first look is just affecting the surface. A cut, tearing, burn or accumulation of color on the surface. But the thing that presents itself in two dimensions, turns into an action that its importance is in aesthetics discourse. A thankless act which comes from the prevailing aesthetic argument.
This affect, as it could be the narrator of the prevailing aesthetic argument, at the same time, with being outside of this logic, challenges this whole thing.
Every groove and bending trace that forms on the surface, is a signifier that signifies the failure of the execution of thoughts. Therefore here, lines, forms and colors drive your through all of these executional processes, changing your thought into unthought.
Every layer of color which covers the previous one, is struggling to expand and to develop from two dimensions into three dimensions.
The dark parts here are not covering anything, but revealing. They reveal the affect of the materials on the surface, to give visual form to thought.
A groove moves along the white surface which forces the viewer to move physically. A movement in width and length, which usually are needed in confronting 3D artworks. But here, in a two dimensional surface, only looking with the eyes is not sufficient and without the viewers’ physical movement nothing shall occur.
Masoud Alireza. 2017