Sirous Namazi

In viewing his art, we thus encounter familiar objects but come to see them in a new and different way. Namazi recycles worn out or broken things, using them as the foundations for new composites, new wholes. As in Patterns of Failure, a series of works made up of different items of china that have been smashed into pieces before being reincarnated as sculptures. Or his pixel-paintings, in which the ground consists of refuse which is transformed into painting.

His concern with these broken and rejected objects seems also to reflect an interest in human beings. The metaphors informing his work could to some extent be said to revolve around our fragility and the sense of exclusion. A theme that is amplified in Periphery, a sculpture that incarnates the typical symbol of a Swedish suburban balcony. The observation point from which one’s gaze is focused on the local neighbourhood, while the more distant world in contrast, the previous neighbourhood of many suburban dwellers, comes flooding in through the satellite antenna. This metaphorical accuracy is characteristic of the artistry of Namazi. And yet, his works always amount to more than an interesting story or a clever rejoinder: they are sculptures and paintings in their own right.

Sirous Namazi

Born 1970 in Kerman. [IR]
Lives and works in Stockholm.

Education

1993–1998
Konsthögskolan i Malmö/ Malmö Art Academy, Malmö

Selected solo exhibitions

2005
Galerie Nordenhake, Berlin [DE]

2004
Attraktion, Stockholm Art Fair, Stockholm

2003
Udda veckor, Moderna Museet, Stockholm

Selected group exhibitions

2004
Carnegie Art Award, Henie Onstad Kunstsenter, Oslo [NO]

2004
Momentum, Moss [NO]

2003
Nya namn, Malmö Konstmuseum, Malmö

Selected bibliography

Frans-Josef Petersson, “Ready Made”, Konstvärlden och/and Disajn, 2005.

Anna Orrghen, ”Mänsklig topografi i sopform”, Svenska Dagbladet, 2004.

Milou Allerholm, ”Tätt och avväpnande”, Dagens Nyheter, 2003.