Statement:

In Maryam Salour’s works, nature is not the subject of the artwork, but the foundation upon which her visual language is formed.

The series Inscription, Byzantium, and Poppies, despite differences in their time of production and medium, are grounded in a shared conception: one that learns form from the logic of nature and cultivates it through concision, formation, and transformation.

Concision in Salour’s works is not the result of eliminating or reducing form; rather, it emerges from the sensory qualities embedded in nature itself—qualities that transform form into a condensed yet perceptually rich mode of expression.

For this reason, abstraction in these works is not a departure from nature, but an approach toward its inner logic; a logic in which texture, growth, repetition, and change constitute the basis for the formation of form.

The juxtaposition of these three series does not merely place three distinct periods of the artist’s practice side by side; it reveals the continuity of a single visual language—a language in which materials and media may change, while the mode of thinking through form remains coherent and enduring.

Armin Emami