Projects

After two years of depression, Sadeghi returns to his studio pushing the boundaryof his work. By simplifying his techniques while rotating the canvases, Sadeghi seizesto question the familiar compositions and the celebrated aesthetics of art. As if a flashback to his earlier works from the 1970s – indicating brighter and more colourful scenes- the Rebirth and the Game series suggest a naive observation, without the intricacy and elegance common to Sadeghi’s work. Rebirth represents a quite simple and pure use of volumes and colours which to some extent turn into abstract compositions. The brightly coloured elements are placed freely upon geometrical patterns that rely on symmetry, repetition and replication. Likewise, everyday objects such as teacups, breakfast tables, and butter plates join the artist’s iconic forms like apples, roosters, fish, trees, and the sea. The Game introduces found objects into Sadeghi’s works.
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After two years of depression, Sadeghi returns to his studio pushing the boundary of his work. By simplifying his techniques while rotating the canvases, Sadeghi seizes to question the familiar compositions and the celebrated aesthetics of art. As if a flashback to his earlier works from the 1970s – indicating brighter and more colourful scenes- the Rebirth and the Game series suggest a naive observation, without the intricacy and elegance common to Sadeghi’s
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After two years of depression, Sadeghi returns to his studio pushing the boundary of his work. By simplifying his techniques while rotating the canvases, Sadeghi seizes to question the familiar compositions and the celebrated aesthetics of art. As if a flashback to his earlier works from the 1970s – indicating brighter and more colourful scenes- the Rebirth and the Game series suggest a naive observation, without the intricacy and elegance common to Sadeghi’s
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After two years of depression, Sadeghi returns to his studio pushing the boundary of his work. By simplifying his techniques while rotating the canvases, Sadeghi seizes to question the familiar compositions and the celebrated aesthetics of art. As if a flashback to his earlier works from the 1970s – indicating brighter and more colourful scenes- the Rebirth and the Game series suggest a naive observation, without the intricacy and elegance common to Sadeghi’s

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