In his early paintings (1972 - 79) Hamid S. Neiriz shows an affinity to mainly figurative-surrealistic tendencies, but during time approaches abstract gestural painting techniques in proximity to Informal Art, Tachism or Abstract Expressionism. They are regarded as a further development of Abstract Art, originating in the 19th century, but are perceived as autonomous movements only at the beginning of Modernism in the 20th century.

Neiriz’ s study of the art world, his Iranian background, his knowledge of history and religion along with his domicile in the west-east oriented cultural metropolis of Berlin are all elements that flow into his work. 

 

Three groups determine Neiriz’ oeuvre, differentiated by his series “Excavations”, “Fragments” and “Masks”, which stand for the archaic ethnoreligious elements of his art. These series cannot be separated, forming leitmotifs that are closely related. The reappearing title "Mask" underlines the importance of the mask for Neiriz, especially those of African Tribal Art. With these work cycles, Neiriz takes up the sensual and spiritual experiences in dealing with ancient art and translates them into his artistic forms of expression. 

The series "Excavations" refers to archaeological field research but can also be perceived as a metaphor of essential aspects of Informal Art. These series refers to archaeological field research, but can also be understood as a metaphor that touches on essential aspects of Informal Art. In a first step, painting usually means attaching painting material onto canvas. However, in the process of work, the opposite can also come to fruition: colour is taken away again and scraped off to expose underlying layers, a process comparable to excavation. 

 

At the same time, the free use of colour and form feds from the individual and collective subconscious and means searching for sunken down, buried and deposited in the inner self. In the meantime, the free use of colour and form is fed from the individual and collective subconscious and means searching for buried, sunken down, buried and deposited in the inner self. The hidden treasure trove of images, ideas and fantasies, which only comes to light through artistic practice, takes the place of real excavation sites of ancient cultures.

 

Things slumbering under the earth or in the water now disclose their original shape and function, likewise, inner memories arise from the inside of a person, subjected to metamorphoses by psychic processes, not always readily giving away their origin and meaning; a mystery remains.

PAINTING

 
 
 

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