VIEW IN MY ROOM
Sufi Vision Photograph
Photography, C-type on Other
Size: 0.4 W x 0.4 H x 0.1 D in
About The Artwork
Sufi Vision is an exploration of as well as departure from all my research into my Iranian culture and the Islamic doctrine. Let my self be inspired by the poetry and philosophy of the romantic Sufis. Who dared to critique and turn religion to an ironical satire. Fashioning a visual narrative of the holy Koran and the proverbs of the Imams and placing human reality as subject. This project brings to light a rich and seductive language that has been censored by means of force. It puts a face on Fatima as she whispers in the ears of Imam Reza and I recreate the flight of Gabriel after he has delivered his message to Mohammad. Make an art piece that demonstrates the seduction of Martyrdom and the absurdity of it. Making an iconic vision that introduces intimate moments of faith and mysticism, with a punctum of reality. The concept of brotherhood from the Koran, the lustful depiction of the Sady (young male dancer/wine giver) and the significance of female power in Iranian history. I want to show images that bring back shape and form to a lost tale of lust, passion and religion. A narrative that has been always abstracted is being reenacted and performed, thus giving a new and fresh look at Islamic beauty. Sufi Vision explores the mystical realm of Persian mythology. Using photography as a means to create a mesmerizing arrangement of images, I capture a sumptuous and symphonic dream world. This body of work is inspired by spiritual Persian poetry and the social experience of contemporary Iranian life. Examining Persian heritage and bringing to light the spiritual sensuality that has framed modern Iranian culture. Breaking the stereotypical propaganda of the Islamic regime, these images open a door to a culture that has been forced to silence. Like the great Sufi writers who bypassed prohibition on freedom of speech, I use irony and humor to challenge the stereotypical imagery of Persian philosophy. Like a mystical wind from the Sufi lip, a visual love affair is presented to the curious audience, if they dare pass the tavern door.
Details & Dimensions
Photography:C-type on Other
Original:One-of-a-kind Artwork
Size:0.4 W x 0.4 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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february 27, 1982. Tehran
Born in Iran, Aydin Matlabi moved to Canada at a young age. His family had to leave the war torn country, because of religious fanatics and a high rate of persecution for any libertine mind. Growing up in an impoverished and gang infected neighborhood, Aydin found art as a means to move away from danger. Yet, irony remains that he left one dangerous life for another. Traveling the Middle East, from Iraq to Afghanistan, Aydin had a gift to befriend the most notorious and dangerous individuals and open doors that no other can. Finishing his Master at Concordia University, Aydin Matlabi, is able to bring a new view to fine arts photography. He has reached a new level where he is able to incorporate the medium of documentary photography, the narrative of art history, and the theoretical understanding of mass culture. Traveling the globe and befriending a variety of cultures that varies from drag queen to Taliban. Aydin Matlabi tries to understand the world he lives in while depicting his reality in his work.
My project revolves around Iran and the monumental revolution that has shocked the Islamic world. My trip to Iran this summer was meant to be the concluding chapter of my theses for my Masters in Fine Arts. I traveled there, to my birthplace, in search of images that depict a people with a rebellious spirit, images that span four generations of Iranians, images of a modern Iran and the harrowing struggles the country faces. I arrived there with goals in sight and a clear outlook, and noticed peoples excitement in anticipation for the elections, an excitement that stemmed from the emergence of hope for democracy. Crowds of smiling faces were chanting and breaking into song, they were dancing out in plain sight in a country that has a history of repressing such public displays. Crowds had gathered because for the first time in thirty years people felt they would have a say in the outcome of the elections, they felt they would have a say in the future of their country, a say that would make room for change. Their voices were stifled. A week before the election results I understood the ugly truth about democracy in Iran when I received a blow to the head. As I tended to my wound, I realized that my country was to revisit a violent chapter that had become all too familiar in its history.
I had seen my share of violence and figured I was ready for whatever may be the outcome.
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