Black Sun
Talieh Kamran was born in 1930 in Tehran. She is a student of Beux-Art school in Paris and one of the second generation of Iranian modernist artists. Her professional activity coincided with the third decade of Art Nouveau and started with the holding of her first solo exhibition in the hall of the Faculty of Fine Arts in 1968, after that she continued to paint for half a century. Her work style from the beginning of the seventies was figurative painting. In the path of her experimentalism, she brought the bright colors closer to the border of figurative painting by relying on the interference of geometric forms in the bed of black and white colors until she was able to create her personal language using detailed constructions and the creation of bright, unconventional color shades in her most important exhibition exhibited in 1978. After the revolution, a twenty-year delay in her work made her return to conceptual figurative painting and depiction centered on women and birds. From that period to the beginning of the 2000s, Kamran stopped looking for the representation of individual feelings in her works and her concern was completely inclined towards the display of collective behavior with a tendency towards the theme of liberation and freedom of contemporary man. Her paintings in the direction of the newly emerging social realism of the 2000s are a clear example of the rethinking demands that put the painter in front of society and its demands; an attempt to read the concept of "freedom". The distinctive feature of Talieh Kamran's work is the inherent originality in the coloring, painting and artistic expression of the artist in facing the world around her, which finally ends in creating a balance between the aesthetic matter and the philosophical vision of the artist. Talieh Kamran left this world in the winter of 2016. (Source: Tehran Auction site)
Black Sun
Talieh Kamran’s paintings or in general her non-verbal expression in general can be explored and explained at different levels of discourse, that fluctuate from figurative to abstract: in Kamran's pictorial discourse, we never encounter complete abstraction or complete figurativeness. Rather, we are faced with a kind of grading of these two levels. In the paintings that move more towards abstract discourse, the movement of rhythm, the darkness of the color palette, the power of the brush, and the confusion of color and line are more visible. In fact, the more we move from the figurative dimension to the abstract dimension in Kamran's works, we are faced with an area that we call the signified area, and this area is placed in front of the symbolic area, which is more related to figurative expression. It should be mentioned that in connection with the two symbolic and signified fields, we cannot talk about a special demarcation in their perception and within a single artwork, rather these two are completely intertwined and each turns into the other in the context of a discourse, and perhaps that is why every discourse Pictorial and non-pictorial, has its own special symbolic and signified field. In this way and through these two fields, Kamran has explored the field of meaning and weaves these two fields of meaning together like a thread and invites the viewer to discover the wide range of meaning of her artworks. She and the viewer bring out a bright and radiant sun from the heart of darkness, which has no path to darkness and destruction.
Sohrab Ahmadi
