TADAEX

سرگشتگی

 .زمزمه ی آن فرشی بافته است ‎انسان، خاصه انسان شرقی، همواره تنهایی را تجربه کرده و با دراماتیزه کردن آن شعری سروده، سازی نواخته و گاه با 

‎.انسان امروز در تقابل میان واقعیت و مجاز، مکانیک و‌دیجیتال و سنت و‌مدرنیته ، در عین تجربه تنهایی ، سرگشتگی را نیز تجربه می کند

 .اگر فرش را هم نشینی تار و پود آن می سازد،  انسان نیز در هم نشینی و ارتباط هویت می یابد 

.گویی آنچه بر انسان گذشته اعم از غم و شادی ، کامیابی و ناکامی، لذت و رنج، همه ، جز به جز وجود او را نقش زده اند 

.همانطور که در فرش ارتباط تار و پود رنگین نقش آن را هویدا می کند و شاید بتوان فرش را متشبه از انسان دانست

‎.امروز اما خاصه دنیای مدرن و جوامع مصرف گرا، در جهت تولید انبوه ، اغلب فرش ها را ماشین ها می بافند  دیگر از یگانگی طرح و نقش خبری نیست 

.‎آدم امروز نیز میان واقعیت و مجاز تکه پاره شده و از خویشتن جدامانده و بیگانه شده است

 اندام مثله شده ی انسان در این فرش ها که توسط ماشین بافته شده اند به جای نقوش سنتی هندسی و اسلیمی قرار گرفته 

.و تصویری نامأنوس ایجاد کرده اند که خود استعاره ای از وضع موجود است؛ جا به جایی، جایگزینی، فقدان آنچه باید سر جای خود باشد و نیست

 

Bewilderment

Human, especially oriental human, has always experienced loneliness and by dramatizing it, has composed a poem, played a musical instrument and has even woven a carpet by murmuring it. Today’s human’s confrontation with the opposition of the mechanical and digital as well as traditions and modernity has made them lonely and bewildered.  If the carpet is made by getting the warp and woof together, every human is made through getting together with other humans as though every suffering and joy, every success and failure and all the grief and happiness has taken a part in making the human whole; in this manner it can be said that a human is like a carpet. But today, most carpets are woven by machines and there is no unity as before; following this the humans have also become alienated and fragmented in between the real and the virtual and lost their sense of self. The fragmented parts of the human, instead of the traditional and Persian motifs and patterns, are embedded in these machine-made carpets and thus developed an unfamiliar image which is a metaphor of the current situation: nothing is in its supposed place!

This collection is the result of three years of research and hard work that includes 19 pieces retrieved from the carpet design in ages thirteen, fifteen, seventeen, eighteen, nineteen and twentieth centuries from different regions of Iran including Tabriz, Fars, Isfahan, Tehran, Ardabil, Yazd, Kerman, Bijar, Qom, Kurdistan and Arak which inspired by the architectural and cultural identity of the region.

Year :2017

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