1/1 PLAYING POSITION WITH ARDESHIR:INTRODUCTION

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ARDESHIR MOHASSES,TO THE LAST MOMENT OF LIFE,POSITIONS HIMSELF IN A SOCIAL AND HISTORICAL PERSPECTIVE,TO DISCOVER THE POSITION OF POWER,TO SHOW THE OPPRESSED،and to draw them with reality and sincerity that defines the drawing as a simplest and most naked form of art.

MOHASSES NOT ONLY USES KINGS AND THEIR COURTS,

AND ESPECALLY QAJAR DYNASTY,Pahlavis and mullahs,BUT ALSO SCENES OF MODERN DAY 1001 NIGHTS IN NIGHT CLUBS,DANCING OF BIG SUBJECTS AND OBESE PRODUCTS ,IN nude and SEMI NUDE POSITION.

HE TAKES EXPERIENCES OF HIS PRIVATE LIFE AND HIS SIGHTS INTO ACTION.

ON THE COVER OF A SPCIAL ISSUE OF

SIMORGH MAGAZINE,COMMEMORATING HIS LIFE AND ARTS IN 2009/1387,THE ARTIST IS STARING AT ONE OF HIS SUBJECTS,LIKE A KING HIMSELF.HIS NECK IS DRAWN OUT OF HIS COLLAR,HIS EYES FROM PROFILE SEEMS TO BE IN DISBELIEF,AND HIS SHADOW,LARGER THAN LIFE,STANDING SIDE BY SIDE,BESIDE HIM.

NO DISTRACTION IS BEING FELT IN HERE BY THIS PICTURE,WHICH COULD BE A COLLAGE BY MOHASSES IN HIS LATER YEARS OF LIFE.THAT IS WHEN HE WAS NOT ABLE TO PERFORM PROPERLY AND BRING HIS MIND AND IMAGINATION ON PAPER,BUT HIS LOOK AND HIS SIGHT IS THE SAME ,AND BUISNESS AS USUAL.

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IN EARLY 90'S WHEN I LIVED IN MANHATTAN,A FEW BLOCKS AWAY FROM HIM,I OFTEN WALKED TO HIS 6C APARTMENT TO DISCOVER HIS POSITION IN NEWER WORKS,AND DISCUSS THEM WITH HIM,OR AT TIMES WITH FRIENDS LIKE MANI,ON MY SIDE.SOMETIMES WE CONTINUED OUR TALKS ON THE PHONE,THAT WAS NOT HIS FAVORITE,BUT WE USED IT EVEN WHEN I LEFT NEW YORK.I ALSO MADE NOTES ON HIS BOOKS,AND FOLLOWED MY OBSEVATIONS THROUGH TWO SPECIAL ISSUES OF MAGAZINES,
IN BARRESI KETAB AND SIMORGH.
ALL THESE TIMES,

I ONLY FOUND ARDESHIR TO BE IN EXILE .EXILED AT HOME and OR IN HIS ADOPTED HOME.

HE WAS ALWAYS SITTING BEHIND THAT EASEL,WITH LIGHT IN BACKGROUND,AND TAKEN AWAY BY HIS LINES.HE WAS ALWAYS WAITING FOR LIGHT AND HIS ERA TO BE EXPANDED IN FRONT OF HIM,

WHEN HE WAS TALKING ABOUT QAJAR,HE SEEMED TO BE ENCHANTED,BUT YOU COULD TELL HE MEANT CONTEMPORAY,BY THAT.BECAUSE HE ALWAYS WAS CONTEMPORARY.AND HIS PEOPLE ON GALLOWS,OR THEIR PIECES ON DIRT,AND THE CHAINS AND LOCKS ,AND ARMS AND LEGS WITHOUT BODY ,AND BODY WITHOUT HEAD,THEY ALL WERE CONTEMPORARY...AND NOW THE BACKLIGHT FROM THE WINDOW WAS RUNING BETWEEN HIS HANDS AND FINGERS,AND I WAS TAKING MY NOTES,LIKE A REPORTER AND OR REVIEWER.

HE SAID TO ME HE IS A REPORTOR.REPORTER OF HISTORY AND DOCUMENTS OF TIME AND PLACES.
HE WAS A REPORTER OF ART ,AS WELL.

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ONCE IN MANHATTAN,I WENT TO SEE HIS ARTS IN A SOLO EXHIBITION,HE WAS ALL NAKED,AND THERE WAS THIS NAKED LADY WHO WAS WALKING AROUND AND REMINDING EVERYONE THAT THE MODEL OF ALL THOSE ART WORKS ON THE WALLS IS HER.IN FACT SHE WAS ON THE WALL,JUMPING UP AND DOWN,AND A GOOD EVIDENCE OF POSITIONS.THE POSITIONS SHE WAS TAKING AND THE POSITIONS ARDESHIR ALWAYS PLAYED:

NAKED AND CLEAR,EXCITED AND ANXIOUS.CALM AND ENGAGED.

THEN JAMES TURBER CAME ,ALL NAKED, AND SAID:

"WHEN I DID THE CARTOON,ORIGINALLY I MEANT THE NAKED WOMAN TO BE AT THE TOP OF A FLIGHT OF STAIRS,BUT LOST THE SENSE OF PERSPECTIVE AND

THERE SHE WAS STUCK UP THERE NAKED ON A BOOK CASE."

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ARDESHIR FREED HIMSELF OF ALL THE ANGST,EVEN TOTALLY NAKED.

HE TOOK THE FINAL POSITION.

HE FLEW AWAY.

M.K.SADIGH SAID : HE IS NOW IN GREEN WOOD OF BROOKLYN.

I WON'T BELIEVE UNTIL I SEE HIM.

IT IS ALL SEEING IN SEEING ALL,MAKE ME SEEING,MAKE YOU SEEING,MAKE US ALL SEEING...ALL SEE-ING,so...

see more:
 postcard from ardeshir mohasses country,
posted on his birthday:sep 8,2009
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ARDESHIR MOHASSES 8.24.2009