Sahar Manouchehrabadi

ARTIST STATEMENT

My art practice is a continuous solution finding to an abstract problem. The geometric forms in my work, cannot be considered alone, nor can an object or man be considered apart from their relationship to the surrounding. They are part of a whole unit or system. It appears these forms are systems or situations having a primary intrinsic order, often in mutual attraction and repulsion. Thus, they create tensional situations, that tend towards a near-equilibrium. I was born five years after Iran’s revolution, series of events involving the overthrown of the monarch of Iran and in the middle of Iran-Iraq war. The sequences of these events, brought me to the approach of searching for logical order. Quite opposite the way our government operates, I was convinced that the notion of each sequence lives in a net and the seemingly discrete events are interlinked.

System also means a system of relationships: forms are part of the whole and interact with one another, establishing connections which have an identity and meaning of their own, being one product of an existing interaction.

Interview with Sahar Manouchehrabadi 

Can you tell us a bit about your background and how you became interested in becoming an artist? Who or what were some of your most important early influences?

I am a multidisciplinary artist born in 1983, in Tehran. My practice encompasses painting, sculpture, video and installation that explore the complexity of the contemporary geometric sign. I was initiated into painting very young. Hanibal Alkhas, an Iranian master painter who had received his MFA from the Art Institute of Chicago in the 1980s, began a painting course for children, in Tehran. A class that shaped a profound understanding of art within me. For me, painting has since remained a passion, an incentive and a long-term intellectual challenge. In early 2000 I started my undergrad in Kiev, where I had the chance to learn about Russian avant-garde in particular constructivism and suprematism. My already intuitive understanding of geometric art started to evolve progressively. I was inspired by artists such as Kazimir Malevich, David Burliuk and Vladimir Tatlin. At this time I gradually began to develop my own vocabulary in painting which combined and echoed rich geometry of Persian culture with my new findings of western art.

Any stories you can share about early memories of how an aspect of the arts impacted you?

My most vivid encounter with art in adolescence took place when Iran Museum of Contemporary art opened its huge collection of modern art to the public for the first time. I remember being fascinated by the works of American artists like Andy Warhol, Roy Liechtenstein, Mark Rothko and others. It was overwhelming to see the works of such masters in person. I feel that the power of these significant works has motivated me to make art to this day.

Where are you currently based and what initially brought you there? Are there any aspects of this specific location or community that have inspired your work?

I am currently living and working in Los Angeles. I initially moved here to do an MFA program in ArtCenter college of design in Pasadena. Living in Los Angeles has given me a chance to connect with the community of artists, writers and other art professionals. Other than that, I believe Los Angeles is a magical place for painters. The quality of the light and the immensity of the landscape is quite special.

Can you describe your studio space? What are some of the most crucial aspects of a studio that make it functional? Do any of these specific aspects directly affect your work?

My studio is currently in downtown Los Angeles. The studio opens onto the cityscape: to the grid of tiny windows distributed in the large concrete walls. At night this view turns into a shimmering electric landscape, with all the tiny cells pumped with light. I feel that my practice largely reflects the same geomekktry of the cityscape, repetition and circulatory movements. To me a functional studio space is one that would encourage me to spend more time out there. It is also very essential for me that people who come to my studio, would get a sense of my thinking process.

What is a typical day like? If you don't have a typical day, what is an ideal day?

I usually go into a creative stream, listening to music or reading a thought-provoking text about art.

What gets you in a creative groove or flow? Are snacks involved?

My creative energy can mostly be interrupted by stress. I am one of those people who cannot function properly under stressful circumstances. I think more or less all artists could do better work if they stay away from distractions. I think what we refer to as inspiration is primarily the ability to connect to a greater truth. That's where all these distractions can get in the way of creativity.

Is there anything that interrupts and stagnates your creative energy?

A typical day in my studio would entail reading and research as well making. My works are labor intensive, which means long hours of studio work. I usually start working later in the day because I like to work late into the night. I work on different projects simultaneously, so there's always a variety of things to do. I also very much like working with other artists, I invite my friends to come to my studio to work together. I always have the impression that many things that come up in our dialogues are helpful and make the studio time much more productive and pleasant.

How do you select materials? How long have you worked with this particular media or method?

My works, whether it's painting, sculpture or video, have vocabulary that usually involves some kind of repetition. In order for the works, to have meaning in this repetition, the choice of material becomes even more critical. For example, in my paintings I only use black oil paint. If one uses the paint in this way, it almost also defines the work conceptually. My sculptures, on the other hand, are influenced by domestic environments and objects. Therefore, I use materials such as plastic, steel, carpet, etc.

Can you walk us through your overall process? How long has this approach been a part of your practice?

Over the years that I have made art, painting has stayed at the heart of my practice. How I work is that one painting gives rise to another painting. Ultimately my paintings influence the sculpture, and the sculptures appear in the video works. Working in some kind of loop made it possible for me to explore and broaden the possibilities of my vocabulary.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work over time? How do you anticipate your work progressing in the future?

Recently I have mostly studied Native American art, Islamic art and African art. In all those traditions, I saw geometry used to describe the essential codes of the natural world.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

I have a very broad definition of what it means to practice in the studio. I think one of the challenges as an artist is keeping your studio active over the years. A lot of the artists I've met think they're more productive in isolation. I personally believe that collaborating and sharing your studio practice is a key component in keeping your studio alive. I've been involved in many projects that call for artistic direction. I think it's a very helpful way to continue to bridge the gap between art and the practical aspects of life.

Have you had any epiphanies recently that have changed the course of your work or caused you to shift directions?

I think the most dramatic change has happened in my art practice since I left for Los Angeles. I moved to LA to do MFA at Art center college of design in Pasadena. During these two years I have been able to connect with the community of artists, writers and thinkers. The program was structured in such a way as to offer intensive studio visits with professors and visiting artists. This opportunity encouraged me to expand my practice from painting to sculpture and video.

As a result of the pandemic, many artists have experienced limited access to their studios or loss of exhibitions, income, or other opportunities. Has your way of working (or not working) shifted significantly during this time? Are there unexpected insights or particular challenges you’ve experienced?

The pandemic has had multiple implications for our lives. As an artist, I had the feeling that these two years were extremely difficult to keep active and in good health both physically and mentally. But like I said, I started school in 2020, in the midst of the pandemic. I have been busy and productive as a result of the program. Now, when I think about it, I feel like the isolation has allowed me to stay more concentrated.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music—that are important to you?

One event that has recently been very influential to me was the Kraftwerk concert in LA at the Shrine Auditorium and Expo Hall. I have always been a huge fan of electronic music and I admit that it has always had a profound impact on my work. I have always felt my work resonates greatly with repetitive rhythms and sound. Songs such as Man Mashine and We are the Robots are basically very revealing of my process and my reflections on visual art.

Who are some contemporary artists you’re excited about? What are the best exhibitions you’ve seen in recent memory and why do they stand out?

I would say Peter Halley is one of the American artists I have always been excited about. I'm currently reading a book he wrote in the 80s. The book is a collection of his essays which I found to be fascinating and informative. What's interesting for me is his analysis of the evolution of geometric art. I think even though this book was written in the 1980s, the intense effects on culture that it describes have been realized today. Halley's paintings are still fresh and continue to be an inspiration to artists in the post-internet era. Another artist I've always admired is the Chinese artist Cao Fei. Her recent exhibition of photography and videos in Sprüth Magers in Los Angeles was truly striking.

Do you have any tips or advice that someone has shared with you that you have found particularly helpful?

I think I'm going to offer my childhoods painting teacher’s advice. He used to say, Artists aren't any different than a construction worker. You need patience and hard work to build your practice. Although the result is quite charming, but the process is strenuous.

What are you working on in the studio right now? What’s coming up next for you? Anything else you would like to share?

I am currently in the process of producing a new video. Making video generally takes a lot of research along with the more difficult production process. This work will be the sequel to my previous video, which emphasizes the idea of societal collapse. I am currently researching the fall of Mesopotamian civilization and the oldest surviving literature, Gilgamesh epic that focuses on human appeal to the secret of eternity. Given the recent events of war and pandemic, today's artists should help society anticipate the repercussions of our decisions and actions.

To find out more about Sahar Manouchehrabadi check out her Instagram and website.