Hereby, I intend to have a psychological approach to the works of Minoo Emami.
Since it is not in my working field, I am not going to write about the structure, form or technique of these paintings; although as a viewer I enjoyed a lot.
First of all, I would like to treat the works as a text. As Freud says, words in a dream are as if they are objects.
Therefore I am going to study the artist's dream as a text containing words.
Jacques Derrida says, a reader needs two types of reading, and each text is a double-text. Two texts, two hands, two views, two kinds of hearing; there are always two texts within a text.
In these works, the first text: Prosthetic legs which are placed in different characteristic, social or even mythological situations. This remaining prosthetic leg is certainly a war man, a sign of war, a non-existence of body and a pain the artist sees in that war survivor.
However, the second text, which is the under layer of these works, is how the artist sees a man.
A man who has finally turned into a prosthetic part of his body which never stretches a hand for contact; because it is a prosthetic leg, the only remaining part of the man's body that from the artist's view is not real.
The artist has only painted her portrait out of her hands. Hands which are signs of contact are the only parts the artist sees in her body, and that is again in the shape of one hand on the other, meaning to be patient in this world of the lack of contact…
In the works of prosthetic legs, there is no sign of a female's body. A white dress, or red panties, empty chair, blue swimwear, all and all make the prosthetic legs' or the man's dream.
Even when a Christ becomes the victim and wears a crown of thorns, he puts on a prosthetic leg; again, an artificial part from the body of a war man…
Or when the Male Symbol of the artist turns into the shape of Zahak the Tyrant King (known as the snake-shouldered), again the snakes get out of his artificial organ.
This man is not of course survived of only one war, like that of Iran and Iraq.
From the artist's point of view it is the result of years and centuries of war, of which there is nothing remained but theprosthetic part resembling his leg.
It is as if the man is always left with a limp on the eyes of our painter.

Nazanin Rahimi

 
 

 

 

 

 

 

 

 

 

هيچ گونه اجازه ای برای هر نوع استفاده از نقاشيها و تصاوير ارايه شده به جز مشاهده شخصی آنها در سايت, بدون گواهی کتبی نقاش وجود ندارد. متخلفين موجب بند 5 از ماده 2 قانون حمايت از حقوق مولفان, مصنفان و هنرمندان تحت پيگرد قانون قرار ميگرند.

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