Tehran,
No. 18 Shahin (Khedri) St., Sanaee St.
8 August 2025 - 19 August 2025
In colloquial usage, the term “Palimpsest” is referred to a manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing. In terms of architecture, it is used to describe a historical building or object that has been repurposed or transformed by the gradual removal of earlier layers over time while still bearing visible traces of its previous states. These remnants remain inscribed—layered and persistent—shaping how the work is seen and understood today. This sensibility informs both the conceptual foundation of the works on display and the process by which they are made.
Driven by his commitment to Iranian art, culture and literature, Sadatnia explores Iran’s abandoned historical and natural sites to shape his vision—one in which the legacy of the past quietly surfaces in his formal choices, without conscious intention. In this collection, he primarily uses acrylic, complimented by graphite powder, ink and pigment mixed with other materials to reach his aimed quality. By applying thin, translucent layers over older works and building up new layers, he allows each piece to emerge from what came before.
The geometric sensibility of his previous series persists here, though subtle shifts in form and color hint at a new direction—one that gestures toward new directions while remaining anchored in a consistent conceptual thread. Here, the presence of empty space is made more perceptible through his use of a limited color palette; while the duality of presence and absence is further emphasized by the use of silverpoint. Through this and other subtle methods, traces of human intervention and ecological deformation begin to emerge—not through stark contrasts, but through descriptive gestures. Despite the symbolic potential of color, the artist resists imposing meaning; instead, he constructs a neutral and open space that allows the viewer to form their own experience and judgment. “Palimpsest” invites reflection on the quiet fading of Iran’s landscapes—without anchoring itself in any specific place.
Driven by his commitment to Iranian art, culture and literature, Sadatnia explores Iran’s abandoned historical and natural sites to shape his vision—one in which the legacy of the past quietly surfaces in his formal choices, without conscious intention. In this collection, he primarily uses acrylic, complimented by graphite powder, ink and pigment mixed with other materials to reach his aimed quality. By applying thin, translucent layers over older works and building up new layers, he allows each piece to emerge from what came before.
The geometric sensibility of his previous series persists here, though subtle shifts in form and color hint at a new direction—one that gestures toward new directions while remaining anchored in a consistent conceptual thread. Here, the presence of empty space is made more perceptible through his use of a limited color palette; while the duality of presence and absence is further emphasized by the use of silverpoint. Through this and other subtle methods, traces of human intervention and ecological deformation begin to emerge—not through stark contrasts, but through descriptive gestures. Despite the symbolic potential of color, the artist resists imposing meaning; instead, he constructs a neutral and open space that allows the viewer to form their own experience and judgment. “Palimpsest” invites reflection on the quiet fading of Iran’s landscapes—without anchoring itself in any specific place.
