Young, contemporary artist Golnaz Fathi returns to London for her third solo show Dance Me to the End of Night.
This is Fathi’s second show at October Gallery, demonstrating a tentative development into video by an artist whose work has until now stemmed both in material and subject almost solely from her background of training in one of the Middle East and Arab world’s most revered arts; calligraphy. Using canvas and paper, Fathi’s work took calligraphy into the abstract in ways that other artists have not.
Now however two small screens display digital representations of a ‘dance’ which Fathi tell us, is of letters being blown across the screen to the music of Mozart. Working with a digital programmer, Fathi came up with works which she hopes will speak of the silences between the notes. Also on display are sculptures made of boldly painted paper; accordion-like ‘booklets’ stretched out on plinths for the onlooker to negotiate within the space of the gallery.
This month I Ran into Iran interviews culture producer, artist Mary Mattingly around a single image. Known for her ambitious projects that re-imagine urban living in a post-capitalist post-extraction-based economy, Mattingly discusses recent efforts to exorcise her possessions from her life and the difficulties protecting the Commons in a progressively-privatized public sphere. Mary Mattingly’s work is to methodically catalogue her possessions (pictured).
Listen in to our conversation on Thursday at 19:30 or Sunday 06:30am on 104.4FN across London or online otherwise.
October Gallery, London presents Dance Me to the End of Night until June 2014, a show comprised of large scale canvases, works on paper and video.
The gallery maintains that Fathi, born Tehran, 1972 is an influential member of an exciting group of contemporary artists to surface in Iran over the last several years. While studying Graphic Design at Azad University in Tehran, Fathi, always fascinated by the expressive potential of traditional Persian calligraphic forms, immersed herself in a sustained six-year study of traditional calligraphy. She then became one of only a tiny handful of women trained to the highest level within that discipline.
Most of Fathi’s work is a development of the technique of Siah Mashgh, repeating letters until the ink blurs in a densely solid block; she continues the motions of calligraphy without imbuing the direct meaning of words onto the letters. In our previous interview with Fathi at October Gallery in 2010, we noted that the works had moved away from the suggestion of a landscape into a more astral realm, and the very first interview we had with Fathi when she had a solo show My Freedom at Xerxes, London in 2008 she herself explained her use of colours. In this week’s show, the artist explains her ideas behind the videos and where she is at with her own development.