We called my grandfather “Aghajan”.  A part of my childhood was in Aghajan’s house. A house that he had built as a builder. That house doesn’t exist anymore, instead there is a tall building. The day I saw that building I felt that I missed a part of me, that the body of my memories was stolen from me. Not only me; but also a generation has experienced such feeling. Today old houses are destroyed and substituted by apartments and towers. Apartments that are the signs of another culture and architecture. The passage from tradition to modernity has been happening and my generation has seen and felt both. It has its roots in one and has grown its body within the other. I have lived as a child in Aghajan’s house and I have known that culture and local Art of ours we used to have. But I have also known the western Culture and Art and its mechanism in everyday life.

Artistic creation can be considered as a behaviour and a reaction to the environment and what is happening around us. The reconstruction and installation of Aghajan’s house is an emotional and artistic reaction to that sudden disappearance of that house, a part of the artistic identity of the Artist. If destroying Aghajan’s house is an inevitable fact and an outcome of the external circumstances, its reconstruction by the Artist is also the inevitable outcome of his internal state, his thoughts and grief.

Nonetheless, the Artist that cares about the nostalgia, the past and the elements of his artistic evolution can not be neutral about the current era in which he lives, his current environment and context of his current inspirations and productions. So the works which are exhibited here focus on two eras, two fields and in fact two histories and they are supposed to depict the artist’s attitude toward these histories and the interaction between them.