“Poushosh” Collages are totally and fundamentally conceptual. For their creation is based on mere idea and concept. And technique and material are the secondary elements in them not the main. Some of the chosen material such as extracts from fashion journals would be ruined or forgotten if they weren’t used in these collections. But this collage revived them, reanimated them with a new life and function. Above all they have helped the artist and the artist has helped them.
“Poushosh” Collages are totally and fundamentally conceptual. For their creation is based on mere idea and concept. And technique and material are the secondary elements in them not the main. Some of the chosen material such as extracts from fashion journals would be ruined or forgotten if they weren’t used in these collections. But this collage revived them, reanimated them with a new life and function. Above all they have helped the artist and the artist has helped them.
portrait.
Farshido's first step and fundamental characteristic in his artistic creation process is discovering the aesthetic objects. Objects which are transformed into artistic objects, or used as a part in their construction. These objects are usually left alone, dusted in basements, garages, attics, secondhand stores or flea markets. There are two main differences between Farshido's artworks and the works of artists who use aesthetic objects as well. Firstly, he tries to glorify the historical value of the object and the talent of its creator.
Choosing the nickname Farshido (which is the contraction of Farshid and others) is also based on this fact. Secondly, he tries to invite his audience to the opportunity of the aesthetic experience through his artworks. He leads them to a point of confrontation with exaltation, freedom, transgression, and rebellion of the objects, the aesthetic objects whose interactions form the artwork. His artworks sometimes use metaphors and sometimes lead the observer toward a direct sensory connection with the pieces and toward a personal revelation through delaying the meaning.
Humans have always used objects as means so the identity of the objects depended on humane needs; Hence Farshido tends to revive the independent identity of the objects and glorifying them, so that when we look at them they seem as idols and gods or goddesses that have had eternal life before our existence.
✒︎ Adel Hashemi: Art Critic
