For her most recent works, and more specifically “Bird Sings from Orange which is About Majesty”, Hoda Kashiha decided to use digital illustration first and then use classic painting material to paint the same image on canvas. She soon found out that there were differences huge and small between the digital image and the actual painting. She explains: “Sense and texture of colors and little movements of my hand and my brushes made this huge difference. I paint different layers of small moments that convey different feelings and oppositional meanings. These layers can be affected or changed by interaction with each other.” In her recent paintings, Hoda Kashiha seeks to depict time as a force that does not move forward, and in that path, she constantly goes back to work on previous layers in the painting. On this effort, she writes: “This layering technique links me to abstract illusionism and quantum physics. —that an object can be moved, changed, or affected without being physically touched. I found the footstep of this idea in traditional eastern miniature and I try to extend it to my paintings.”
In the new series of his paintings, Sam Samiee introduces a fish standing upright like a monument as an homage to Felipo de Pisis, the Italian painter who painted many still lives throughout his practice. From his “Bedroom Posters” to “Love Got Lost, the Intellect Fell After”, Sam Samiee had produced spatial diorama like painting installations dealing with symbolizing the maternal into more abstract forms which were called, “Gay Prometheus Stealing Lighters from Beautiful Women, Women.” In the new series, the Gay Prometheus, when unchained from any mountaintop, erects a monument that is a living fish, an impossibility, but a monument for the imaginal realm that is the container for all that the potential of the future contains.