Parviz Tanavoli

London, Austin / Desmond Fine Art, Parviz Tanavoli: Poet in Love, 2011, p. 58, no. 34, illustrated in colour

Condition: This work is in very good condition. There are few small handling marks on upper front, top of the base, the two sides and the upper part on the reverse of the work, due to the nature of the medium. The faint marks which are due to oxidation can be removed by a professional cleaner. Colour: The colours in the catalogue illustration are accurate; although, the yellow gold colour tends towards a rose gold and is less reflective in the actual work. Sale Room Notice: The sculpture carries two signatures and two dates on the base, both written by the artist: Tanavoli 07 2/3 and Parviz 09 1/3. The artist is aware of the inaccuracy and has agreed to erase the second date after the sale on Wednesday, 24 April 2013 in Doha. Buyers must be advised that the earliest the work can be collected is Thursday, 25 April 2013.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Parviz Tanavoli is one of Iran's most prominent contemporary artists, noted as the country's most significant modern sculptor.  Tanavoli was one of the founding members of the highly influential Saqqakhaneh School of Art alongside Charles Hossein Zenderoudi and Faramarz Pilaram. A neo-traditional movement which was established during the 1960s, it sought to reintegrate and celebrate Iran’s rich calligraphic heritage, reinstating Shia Muslim symbols, folklore and art culture. Often referred to as the ‘School of Spiritual Pop Art’, the Saqqakhaneh movement sought to reconcile traditional and modern aesthetic. It was considered a monumental advancement for contemporary Middle Eastern art, inspiring current artists to this day.

Tanavoli’s artwork shows a fascination and in-depth exploration of Persian folkloric traditions, poetry and literature. His main themes are prophets, lovers, utilitarian objects such as locks, cages, and most notably walls, which include his largest and most impressive series of which this work, Walls and Locks is a prime example.

Crucial to understanding the key inspiration behind Tanavoli's artwork, it is necessary to appreciate his exploration and interpretation of the rich traditional crafts of Iran, reinventing them as contemporary subjects with renewed meaning. Utilitarian objects such as locks, ewers, birdcages and walls are typically unanimous household items evoking an indigenous sense of nostalgia and familiarity. He describes this as “the collective actions of the average people on the street to produce and market their wares, to make a living and even to rejoice during happy occasions and mourn during sorrowful ones.” (The artist cited: Exhibition Catalogue, London, Austin / Desmond Fine Art, Parviz Tanavoli: Poet in Love, 2011, n.p.) 

Dismantling and repairing locks was a favourite pastime of the artist, the impact of his thorough understanding of the inner workings of locks can be seen throughout his sculptures such as this example. Persian padlocks are amongst the earliest in history, produced in variety of size and shapes such as pots, bowls, birds and animals. Tanavoli has a large collection of Persian locks and has published a book recording them.

The faces of Tanavoli’s Walls are inspired by ancient Egyptian or Sumerian models, which were illustrated with intricate inscriptions or hieroglyphics. Tanavoli’s wall structures are monumental in presence; surfaces are elaborately ornamented with scripts, similar to decorative Islamic calligraphy found in the interior of mosques. A unique aspect of Tanavoli’s Walls is that the script used is universal, evocative of Cuniform, Armenian, Aramaic and Persian. Walls, naturally barriers and deterrents, are transformed into mystic symbols communicating messages of universal resonance.

Tanavoli, who resisted succumbing to the common style of art heavily reliant on Western tenets, also succeeded in fashioning a distinctive Iranian visual language which has maintained its relevance. He has moved with ease and elegance through a variety disciplines, lending each his own uniquely characteristic interpretation.