Ibid Projects host Amir Mogharabi over from the USA for a one man show spanning the four main rooms of Ibid Projects’ Space. This is not the first time Amir has interacted with the space at Ibid Projects, having created a series based on a hommage to Yves Klein with artist Harold Ancart in 2010, when the space was still in a very raw state as opposed to it’s current state. The uniqueness of the space is that it has been growing at a natural pace over time and is itself a work in progress that visitors and artists can respond to.
At the opening I found a couple on Ibid’s lovely roof garden inspecting the brick work, which they cleverly deduced had been sandblasted and hurriedly constructed. While some of the walls and flooring of the space tell of years of use and then dereliction, it is still just raw enough to be the perfect setting for Mogharabi’s own unique way of working. A philosophy graduate, Mogharabi works to emphasise the process of creation and interaction over the intended meaning of the work.
He tells me how he hates not titling his work as it creates for him an archiving nightmare, however the works are confidently open, inviting the onlooker to participate rather than dictating your feeling and emotions as more prescriptive works do. In the hours leading up to the exhibition opening Mogharabi is still working, adjusting to the space, creating things that point to the works, the architecture and your position in the building. Lines spill from graphite slab to wall, to floor, corners of paintings bleed into each other despite their physical distance from one another, so that if you align yourself in a certain way, the two pictures become joined at the corner. He once said his work arose “from the death of metaphysics and morals” and that “if we learn to consider art as a medium for inquiry in itself, and accept the ambiguity of its answers, then we can also accept it as something that does not need to be “decoded” because it has no rational reference.” We had a great conversation where we even at times attempted to talk outside of language, and if you see any of Mogharabi’s performance work or read any of his publications you will see why.
Really words cannot do justice to an experience, thankfully there is as yet no surrogate for going out to experience life, however I will tell you to expect a minimal, rather masculine show, that has nuances of binary computing and philosophy and even a trace of Persian cultural influences in his gold and black work. The son of an artist who worked with pirate TV in Iran in the 70s, Mogharabi’s art is the product of years of encouragement and exploration. Well worth a look.