Mahmoud Heidarian (1978, Vancouver, Canada) makes photographs, paintings, photographs and drawings. Heidarian tries to increase the dynamic between author and audience by investigating the duality that develops through different interpretations and objectifying emotions by researching the concept of landscape in a nostalgic way.
His photos isolate the motions of individuals or items. Doing so, new sequences created which show an inseparable relationship between motion and sound. He finds that movement shows an inherent awkwardness, a humour that echoes our own exposures by challenging the notion of movement. Movement is also considered by the artist as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are presented with the intention not to offer an idealistic view where the environment and light are significant but to identify. The energy of a spot and its emotional and spiritual vibrations are always important. He attempts to focus on the action of presenting by analyzing the ambiguity and origination via retakes and variations. Content, contour or the nature of the presented art is secondary. The things that are crucial are the brief and the purpose of presenting.
Romantic values such as ‘inspiration’, ‘genius’ and ‘credibility’ are thereby neutralised and put into outlook. By employing a large selection of strategies that are modern, genius’ creates intense private moments masterfully created by means of rules and omissions, acceptance and refusal, enticing the audience round and round in circles.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that significance is shifted and interpretation that is possible becomes multifaceted. By rejecting an objective truth and international ethnic stories, genius’ investigates the dynamics of landscape, including the limits of scene and the manipulation of its own effects based on our assumptions of what landscape means to us.
His work encourage us to renegotiate photography as being part of a reactive or – at times – autistic medium, remarking on oppressing themes in our contemporary society. By manipulating the viewer to make confusion, he creates with day-to-day, identifiable elements, an unprecedented situation in which the spectator is confronted with the conditioning of his own understanding and has to reconsider his biased position.
His works are on the one hand beautiful, in the other hand appealing.
His works confirm that envisioned by a link between the landscape’s reality’s conceiver and it. These works focus on real questions that ascertain our existence. He plays with the notion of the mortality of an artwork by being confined in time, far more extreme, confronted with the power of a transitory look, which is by employing abstraction.
His works never reveals the whole structure. This results in the fact without being hindered by the historical reality that the artist can quickly envision an own interpretation.
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