Sahar Khorasani
1- Would you like to tell us about the concepts you are experimenting in your paintings?
In fact, I am more of an illustrator than a painter, because the concepts and elements in my works are influenced by a text. In general, my approach to the space in my works is inspired by Indian miniatures and old Iranian paintings; as when in my works the background is covered by layers of bright and light colors, layer by layer, covered with layers of dark color, leaving the negative spaces with lines. Also having no geometrical perspective, and colors with high contrast are the essential features of my spaces.
In my paintings, the ones individual from the text, I have been mostly focused on the concepts of women or myself, without any specific reason or might be subconsciously, just following my inner voices and representing them in my images. In another word, I create artworks to silence my mind. In my opinion, the Persian woman is a symbol of love who is also very independent from love. She is not only able to live without love, but does also give love until she dies.
The exotic woman is, with all her delicacy, very strong and resistant to the hardship and pain. It is like Shahrazad, the storyteller and heroine of ancient Iranian mythology, who by patience and storytelling for one thousand and one nights, made a wicked spirit stop intending to kill innocent women every night.
2- What are the ongoing projects and what innovations will they present?
The projects I have worked on, have been mostly revised texts from ancient Persian texts turning to a modern and more fluent language for kids, in order to make children familiar with the folklore stories, as well as keeping the stories alive. I have also tried to bring my images closer to the spaces from ancient Iran to provide the contemporary child with imagination to connect to the history. In addition, I myself have always tried to have an individual vision on the story through my illustrations which not only completes the text, but also the child can observe the new events presented through my vision and put them all together in his imagination. In fact, this interaction enhances a child's creativity while reading a book.
However, it is my goal to gradually reduce the multiplicity of colors in my works and to focus more on line. I think line not only is the main design element but itself also is capable of presenting a high amount of energy and emotion. So, line gives me this opportunity to be modern while, at the same time, I can stay with the traditional Iranian miniature.
3- What do you think about an artist's social commitment?
In my opinion, since most artists believe that the essential base of the creation of art takes place through freedom, there are yet those who might go beyond their own cultural red lines. However, there might not be any restrictions in other societies. There have been much more debates in Eastern societies about whether if or not relying on morality and tradition, compared to the Western societies. It might be due to these boundaries that philosophy has a significant role in Iranian art, which is hidden from a general audience, covered under multiple layers, and by deep thoughts through metaphors and their meaning one can discover the secrets of the Eastern artist.
The idea that every human being has a mission in this world, definitely, an artist will be a part of it as well, and to my belief, a social commitment will take place only where the artist can grow. In fact, art and society are complementary together. The more value given by the society to the artist’s work to be seen, the more the artist will find himself responsible and committed to that society to embellish its spirit toward beauty and peace.
4- What is your relationship with the market and how do you judge it?
If you are asking about the domestic market of art in Iran, I sadly should say that we are currently in a miserable situation, and in addition, unfortunately, due to the sanctions, our international relationships with artists inside and outside of the country have become more difficult. Although, in this situation, it is the art work which defines the market, and specifically if the client knows what quality he needs, then this will actually bridge between the market and the artist. But, again, we still have the same issue of not being seen. Unfortunately, during these recent years, the international events in Iran has decreased to almost zero. On the other hand, it has become increasingly difficult for our artists to attend international exhibitions or exchange works, and the only way of access has been through virtual world networks.
However, the positive point about this is that there are fierce competitions for reaching the market that will help with creating better quality works, even if available only for a few.
5- Your dream in the drawer?
Well, I don't like to ever say out loud about my dreams, because my experience has always told me you will never fulfill your dreams if you do so.
However, overall, my wish is to achieve the satisfaction of those people in my life who I really care about, and to expand this range while I am alive, alongside having my own satisfaction of go my work, and to work hard to progress, even if as small as baby step, but to be influential for the future.
6- What are the contemporary artists you appreciate the most?
There are many fabulous and novel artists that fascinate who with their works, both inside and outside Iran, especially nowadays, by the advantage of virtual networks, it has become more difficult for me to recall too many names. But I would like to mention two people who, in my opinion, are 2 of the most unique contemporary artists. Tim Burton, one of my favorite and dreamy artists, unique in the imagination and character design, writer and superb animator. Second, Shaun Tan is a talented illustrator, painter, filmmaker, and writer who I really admire, in one word, perfect!
7 - What events are you planning?
Right now, along with orders from various publishers, I am determined to shift my work to a new experience that might be a little far from my original profession but can also be complementary to my work, since I feel what I’d like to say remains incomplete in my painting. Therefore, all I'm trying to do is to make a short animation to tell the stories I have in mind. I feel this helps my work not to be scattered and reach the audience in a more coherent and expressive way. And it has always been my passion to, hopefully, become able to undertake such a project on my own.
