Statement:

“I wanted to create whatever my mind imagined all on my own like another reality, I aimed to see my position in it as the creator of the work, not as the capturer or the recorder of events ... I wanted to find a mutual language with other humans…”

Janet Rady Fine Art is pleased to present Armin Amirian: Surreal Scapes, an online show of the contemporary Iranian photographer Armin Amirian. Looking back at his body of work to date, this viewing room considers the works of Amirian from the perspective of the surreal. Through his arranged scenes set amongst the grand religious architecture of Isfahan, to derelict houses and barren landscapes that are interspersed with anachronistic figures, animals and found objects, Amirian’s Surreal Scapes comment on nationhood, history, culture and conflict and implicitly touch on his own relationship with his homeland.///

Armin Amirian (b.1995) is a self-taught artist and photographer from Isfahan. Citing the socio-political climate of Iran in the 1990s and 2000s as well as diverse media he experimented with in his early years as significant sources of inspiration to his artistic practice, Amirian’s multi-disciplinary approach pays homage to his experiences growing up in Iran, as well as his varied skill as an artist. Growing up in the ancient Iranian capital Isfahan, rich with canonical and opulent architectural forms and strong cultural significance within the Islamic world, Amirian joined a long line of prominent artists and cultural figures from the city. Inspired by those who came before him and their tumultuous plight for greater freedoms in his country, Armirian creates surreal scapes that interpret and transform the collective experiences of his people through photographic print. The works selected in this viewing room are characterised by their staged or manipulated quality. Amirian arranges found objects, barren landscapes, religious buildings, anachronistic figures and livestock in his photography to create surreal and sometimes provocative scenes that are rooted in Iranian history and culture. Whether he introduces livestock into derelict buildings, or places anachronistic figures in traditional locales, by arranging, splicing, transmuting and altering the arrangement of the scenes he captures, Amirian’s visions and interpretation of his surroundings are translated into quixotic and compelling images.