Iran Darroudi

Oil, Acrylic, postmodernism, art, artist, drawing, design, fine , arts, beautiful, critic, postimpressionism, expressionism, abstract, minimalism, digital, deconstruction, metropolitan,

Iran Darroudi was conceived in the socially rich Iranian city of Mashhad, at night of September second, 1936. Her dad originated from a prestigious group of merchants from Khorasan and her mom from a group of Caucasian traders who had relocated to Iran and settled in Mashhad in the wake of the October Revolution.(Read all the more on her authority site; likewise accessible in Persian and French).

Darroudi learned at Ecole Superier des Beaux-Arts in Paris, history of craftsmanship at the École du Louver in Paris, recolored glass at the Royal Academy of Brussels, and TV course and creation at the R.C.A. Foundation in New York.

Darroudi, a global craftsman, in acquaintance of Artists, for example, Dali and Jean Cocteau, thought of her personal history, entitled In The Distance Between Two Points… ! (1997, Persian), in which she unassumingly and deferentially talked about her adoration for the most famous figures throughout her life: expert Poor-Davood, Parviz Natel Khanlari, Ahmad Shamlu, Mehdi Akhavan Saless, Forugh Farrokhzad, Bijan Mofid, and others.

 

She writes:
My glance, searching the identity and culture of my own land stops at specific images and perspectives: my history, Persepolis, my birth place, Mashhad, the city with numerous minarets andâ a summer resort village near Mashhad, which during the Second World War constituted the hiding place for our family members, and my paintings always continued portraying those impressions.
 
An absolute silence dominates the space and the vitreous walls of the village, such walls without shadow; a silence as eternity and full of secrecy and ambiguity, with no oscillation.
 
The sky of my land is sunny, streams of light flowing thereunto. The falling of light has the reverberation of thunder. A rustic road towards the village, and other roads quite similar to furrows on the surface body of the burning land lead to the eternity, and veins and streaks of the soil, with invisible relations, lead me to very far and inaccessible routes.
 
Such invisible relations are in fact the same unions which later I have interpreted in my painting as my eternal relationship to my land. I have been born from such soil and will be buried in that, with such tranquility that the prevailing calmness will envy me.

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