Mother Painting

Member of Association of fine art artists Maribor(DLUM), Azita Bijol Hedayati is an Iranian visual artist who has managed to develop her own motivational and thematic synthesis between the old and new homeland in a recognizable, geometrically stylized style, transforming into surrealistic compositions over the course of twenty years of her existence in Slovenia, which, from the cycle to the cycle varies strategically, but everywhere with a distinctly robustness of surfaces and places glowing, with gradually turning off coloring. Landscape and vedut motifs are joined by figurative compositions with typed, round faces, otherwise there are other, more or less symbolic art objects of predominant circular or curved shapes, with the exception of some rectangular architecture, emphasizing the painter’s emotional softness, despite numerous life trials. The only drastic exception is the paintings on paper from the Azita’s early period created during the Iranian War with Iraq by means of an abstractly associative, gestual expression, with painted allusive landscapes or vedutas of demolished settlements, complementing the image area with collage cutouts from newspapers with military motives. At this stage, the phenomenon of war chaos, which is deeply impressed in the artist’s soul, is an obvious phenomenon, unlike the usual arrangement of its symbolic artistic compositions, where, on the one hand, human figures with fish and birds are intertwined, usually pigeons of peace or heart, on the other hand so architecture mostly sacral or secular, with trees and even interchangeable apples and pomegranates. The later play an important role both in Iran and throughout the Arab world, not only in culinary, but also in medicine and spiritual symbolism. We can often find letrisms in the form of interchangeable inscriptions in Iranian and Slovene with the universal content of love and mutual respect. It is interesting, after all, also for classical, nostalgic architecture, which can be either sacral or consecrated (mostly fortified, eg Bled), but without any religious or national symbols. In this sense, it is extremely interesting, with the symbolism of the charged depiction of three monotheistic worlds, but without distinctive religious signs or allusions. On the left there is a minaret, on the right church belfry of the same shape with an hour, in the middle is the synagogue, but only all three buildings together make sense.