6 days to the ending
6 May - 23 May, 2022
Thousands of clay spheres, big and small, are waiting to roll out like a flood at the moment of the firing of a gun. The commotion of the free-falling and infinite sliding of these spheres on the ground can even be heard before the fact, and it pulls the eyes towards the hidden chaos in the order of these geometric shapes and seamless colors. Following this order, the desire for repetition and creating certain elements drives Mahshid Roshantabar to constantly scrutinize and perceive the status of time. The importance of process concerning the nature of the material in use and the multiple stages of work needed to reach the final form of these pieces, also the daily physical toll, are all evidence of how these seemingly frozen pieces are in fact integrated with the concept of time. The artist plays with different combinations, and through trial and error with material and form, reaches a final situation in her workshop that is imperative to realizing and giving shape to her vision.///
And it seems that this 'situation' and this arduous and time-consuming process, are often even prioritized over the final result. Although the ceramic and glass used in her work make overt references to history and nature, they do not carry any direct signs from the past, but just as clay vessels, they are directly available and in constant conversation with the audience. The desire to touch and feel these pieces, as well as to rotate them and change their form, is the invitation for the audience to engage with them. Although In Roshantabar's work the fragility of clay is minimized through precision and attentive execution, there is still some stress and commotion alive inside them. the unrest that comes from within the nature of this material, and requires constant care and attendance.
Akram Ahmadi Tavana