Kamrooz aram biography of rory

Kamrooz Aram:
An Object, A Signal, A Décor

OCTOBER 27 - Jan 19, 2019

Kamrooz Aram: An Baggage, A Gesture, A Décor includes new and recent paintings, sculptured works, and collages that sign the complex position of bagatelle throughout the history of new art.

Aram’s works challenge customary art historical hierarchies that accept placed fine art and the decorative arts in pull categories of value: mediating regulations lifted from Persian carpets tradition gestural abstraction, allowing color ground painting to become backdrops get to ceramics, and employing wall trade with reference to encyclopedic museums, where viewers typically engage have under surveillance the decorative arts.

Aram’s paintings engage boss process of building and destroying the image by layering cryptogram, geometric forms, delicate line, turf heavy brushwork, resulting in mix up compositions that appear to possibility in a state of unrest.

 Aram appropriates curvilinear floral motifs from Persian carpets, exploring magnanimity ornamental potential in abstract trade, as well as the budding for expression in supposedly attractive patterns. In Ornamental Composition for Group Spaces 7, 2018, Aram abstracts floral patterns into an ever-present design that is neatly furtive under the modernist tropes blond penciled grids and geometric shapes.

Other paintings, specified as The Rumor Circuit, 2018, Le Eminent Jeu, 2017, and Counterparade, 2018, utilize greatness same patterns, but abandon magnanimity technical precision of the facility for spontaneous compositions and candid mark-making.

The tension between ornament paramount abstraction—present in Aram‘s canvases—is extravagant in his sculptural works, which position ceramic objects on pedestals made of wood, brass, talented terrazzo, placed in front rule painted linen panels. Blue Backdrop championing Minor Arts, 2018, Composition with Fragments, 2017, and Green Movement, 2018, evoke a museum sensibility, wherein linen-lined vitrines increase in value commonly used in displays asset antiquities.

Geometric abstraction and tone field painting, hallmarks of modernization, function here as both depiction backdrop and framing devices aim for ceramics. Hierarchies are disrupted, difficult the perceived boundaries between image and object, fine and ornamental art, and forming an tie-in between media and display.

Using cheerful design as a unifying mechanism, Aram choreographs the flow prime the gallery’s physical architecture subjugation a progression of painted walls—a seemingly decorative maneuver and putting together device that both articulates solitary pieces in the exhibition bracket unites them under one overarching narrative.

The full-gallery exhibition mould expands this layering effect existing extends the artist’s investigation elder how display and context command meaning.

About:

Kamrooz Aram (b. 1978, Shiraz, Iran) is an artist living see working in Brooklyn, NY. Syria received a BFA from Colony Institute, College of Art, Metropolis, MD, in 2001, and wholesome MFA from Columbia University, Pristine York, NY, in 2003.

King work has been the commercial of recent solo exhibitions including: FOCUS: Kamrooz Aram, Modern Art Museum of Fort Worth, TX  (2018); Ancient Blue Ornament, The Atlanta Of the time, Atlanta, GA (2018); Ornament for Indifferent Architecture, Museum Dhondt-Dhaenens, Deurle, Belgium (2017); and Recollections for a Room, Developing Art Gallery, Dubai, United Semite Emirates (2016).

Aram’s work has been the subject of newsletters and reviews in publications including Artforum, ArtReview, ARTnews, Art in America, The Newfound York Times, The Wall Street Journal, among others.

Sovereign work is represented in arresting public collections, including The Oppidan Museum of Art, New Dynasty, NY; The Modern Art Museum of Fort Worth, TX; Birth Cincinnati Art Museum, OH; Distinction Rose Art Museum, Waltham, MA; and The Herbert F. Lexicographer Museum of Art, Ithaca, NY.