Painting flowers might be the easiest, and at the same time, the most difficult choice of an artist.
A flower is the primitive example of beauty and the most available form of expression. Its origins
could be traced in literature and myths on one hand, and in the primary levels of public clichés, on
the other. Should the artist add an image of a tree, a snake, or a peacock; he jeopardizes himself by
slacklining in such situation. This has been Reza Nosrati’s tricky test within his three respective
periods of work. Painting elements of the nature which indicate literal and traditional references
of illustration. References that are irresistible and the artist has utilized his canvas to confront
such references. The universal symbols of beauty in silver, rusting surfaces present a mirage or
a downfall, evacuated from nature. He has attempted to develop his (intuitive) patterns on the
surface of his canvas and exclude meaning from them. In other words, the transition of the painter
from poem to a plastic surface is the main challenge of this period of his work.
Mehdi Chitsazha | November 2017
Translated by: Narges Marandi