Adel Sadodin at the exhibition of ‘A Mask unlike the Face’ | An Art Critique by Masoud Sadedin
Address: Mirhaj St.- Qaem Blvd.-Semnan-Iran
Date: 24 November 2017 - 21 December 2017
Time: 17-21 PM
Adel Sadodin, like many of his generations, enters his workshop with the concern of existential meaning of art and more specifically harder, the existential concept of painting. This is obvious in his use of tools and in integration of context and form. What we see from his portrays, is a painting experience from the human beings that seem not to be the creation of the artist’s imagination. As it seems, these people have entered into the artwork from an objective external reality, abandoning their existence, turning themselves into light and dark colors. They report themselves; their spirits and their souls. At the same time, the painting approach of Adel Sadodin takes us back into the painting: easy yet audacious strokes, laying of form and color on each other, covering, erasing and even incompleteness of many of the artworks from these diverse destinies has led into forming of a family, a sanguinity of the painter with its artworks like many of the outstanding artists.
Unifying of the painter with his model, is an inevitable habit which is yet unrepeatable and subjects preserve their individuality and story. Such attitude to challenge the external reality is related to perpetual coexistence of doubt and certainty in the artist that motivates him to step into his workshop; doubt and certainty in perception of the perceived matter. Certainty accompanied by artist’s effort in acquiring the objective concept outside the artist and doubt in what flows from his subjectivity into the reality he is capturing. Portraying is not only the cause of painting but also is a triumph in intuitive development of an alchemy of turning tools and elements of the painting into an spiritual matter; like being unified into someone and seeing from inside another person, a way to extend the understanding and subjective perception beyond self-mind .
Adel Sadodin, consciously uses the painting as a tool to question or perceive the meaning of existence. Since perception of the existence is not only hard to capture but is altering due to its dynamic nature through the time, painting is a possibility of wringing the sensual perception and intelligence in a time-bonded process, from the memory of painting history through which this intuitive wringing of the conceptions at the very existing moment, and shaping it into the artwork has happened. He by noticing this tacit awareness in the painting elements and their performance, focuses on the instant of a state, a look, or a feeling in which a colored sense or line is hidden. What is repeated is a game which is not bounded to its rules and yet it is a game. Playing with colors and the form with a wide black touch in the bottom of a portray which surprises the audience. Playing with a white paper in the hands of the model, playing with line, color… Artworks of Adel do not end into mere games as the game was the beginning of them. The game is only a triumph in forming the possibilities that cannot be reached by awareness. That’s how Pollock and other abstract expressionist painters could reach the spiritual ecstasy. Applying abstract methods in determination of the form and color in artworks of Adel is rooted in this spiritual medium. However the portrays are fresh, since they do not run away from the reality and are not limited to attractive instantaneous and bold moves of the painter. Real connection of painter with his environment and his era, provides a combination of abstraction and figuration in his artwork which makes them, from visual perception, unique. His artworks are where the border between image and thought of existence or feeing it diminish and painting will be a way of thinking. The same feeling and thinking we have witnessed in masterpieces of Velasquez, Rembrandt, Goya and Beckmann. Portrays of Adel Sadodin can be readout through the portraying tradition of these artists. These portrays, using methods of contemporary art, point to a perception of art which is not old nor new, as it places the essence of being in the lookout center.