Our cognition of a thing, which is indeed a testimony of its existence, is at the same time calling the history of that thing. Any appearance in the here and now, simultaneously speaks to the perspectives that are awaiting it as well as the history of the forces that are brought under its possession, and ultimately, of the history of the forces it has itself possessed. When something is called, one has, indeed, emphasized on its “having-been-in-the world”. To call, is actually to demand a thing, to collect it from the history, and therefore, to associate it with the other things, and in this way, is to create an altogether a new thing. To call determines the situations, and then helps one cognize their possibilities toward the current necessities, which themselves have their own histories.
The historical works of painting that were, at first, of a didactic function have now become such a heavy shadows of the idea of painting. Under their realm, the world of painting is either determined to come to an end, or one ought to question their quiddity so as to surpass them and create new worlds. To question an idea, is indeed a procedure that has to do with the act of acknowledging the idea’s existence, and then bringing the idea’s legitimacy to the act of speculations. To put it differently, to question an idea is to call the idea and hence situating it face to face with its attributed discourse. It is only through such a procedure that one could find a chance for bringing new situations into existence. These newly constructed situations are of course “recognized” by the artist, and such a recognition would suffice that a new relationship between the idea and the history being manifested in the here and now of the work.
In this exhibition, each work carries within itself its own unique semantic necessities. Here the artist is certain to liberate himself from having a repetitive painterly style along with the limitations it exerts. With doing so, he subjects himself completely to comprehend what are his extant necessities while being affirmative toward any [painterly] visual form such necessities require each work to carry. The true “form” here is the painter's corporeal movement between the text (history) and the here and now via the act of painting. This hermeneutical artistic form, which is exterior to the tactile surface of the canvas, results in producing a diverse yet self-subsistent body of paintings. If those historical works that once were created out of a necessity would not have existed, these paintings, too, would not have come to an existence. This exhibition presents the results of a particular painting methodology that is about the idea of painting.