These two important global artists have exhibited widely – individually, together, and collaboratively in galleries and museums in Berlin, Glasgow, Finland, Tokyo, Warsaw, Singapore, and all over Australia and New Zealand.
Much has been written about them, but for those wanting a greater in-depth knowledge of what makes them curious about the universe, about each other, and about material ways of communicating their findings, I can highly recommend two fairly recent monographs on the artists: , by Mary Knights and Ian North (both published by Wakefield Press).
For me it represents a way of feeling at home in the world.’ Bring these two artists’ visions together and in time a contemporary masterpiece such as is created.
The brother of President Rouhani of Iran has been arrested and detained in Tehran after being unable to post bail of $15 million.
The arrest comes two months after Mr Rouhani’s re-election and marks a resumption of his conflict with the country’s hardline conservatives in the judiciary and revolutionary guard.
The result is, I have lots of ideas for new ceramic work, and works on paper, which I’m just about to start.” By contrast, Hossein was based in the Freer/Sackler galleries of Asian Art.
There he looked at Persian miniature paintings from the 15th century.
Knights, who begins her beautifully constructed essay evoking a conversation between Marco Polo and the Kublai Khan, as imagined by Italo Calvino sets the scene (again in a theatrically focused way), in her opening lines, “A fire blazes on a Persian carpet.
Placed in a clearing in Australian bush at the edge of the desert, it implies home and a sense of belonging.” But all belongings, no matter how deep, can have sudden endings.
If I had to find a one-word description for this sculpture it would be “theatrical”. Sitting on it was a Hossein Valamanesh has spoken about the influence of the theatrical on his life and work.
It is as if we are viewing something happening on a stage. In an interview with the artist Ian North, he said: ‘My involvement with theatre started from a sense of curiosity when I accompanied a friend to a Scout hall in Tehran, where he had joined a theatre group. And elsewhere in that interview, speaking about art’s transformative effect, ‘I think it happens when the audience or viewer confronts an art work and nowhere is this more pronounced than in theatre.
It is iconic in terms of its content and singularity, yet it has a strong sense of the everyday, through the central motif of the chair.