Ali Banisadr

Sperone Westwater Gallery, New York
Acquired directly from the above by the present owner in 2012

Jessica Smith, Emily Jackson and Noura Al-Maashouq, Eds., Ali Banisadr: One Hundred and Twenty Five Paintings, London 2015, p. 160, illustrated in colour 

Condition: This work is in very good condition. Colour: The catalogue illustration is very accurate however the overall tonality is more saturated, vibrant and richer in the original work.
"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."

"I always look for openings, the part of the painting that welcomes me, the part that calls me in. It could be anywhere, and I start from there. And then it becomes a dialogue. Narrative and composition become the dialogue – I put something here and then ask ‘how is it going to work with this thing over here?’ From there it just goes and goes...You just start a conversation with the work and hope to disappear." (Ali Banisadr quoted in: Jonathan Beer, "Conversation with the Unnamed: Ali Banisadr," Art-Rated, January 2012)

Ali Banisadr’s luminous masterpieces encourage and reward further examination. His paintings are highly biographical and purposefully avoid a central focus point, forcing the viewer’s gaze to scan across the picture plane. Banisadr’s creations display an ethereal realm through bold brushstrokes and delicate detailing, creating a complex narrative upon each canvas that encourages his audience to become immersed in each detail, but also to try and grasp the narrative as a whole. The artist effectively captures and evokes memories of his experience as a refugee from the Iran-Iraq war; his fantastical abstract sceneries act as a platform for visual remembrance of personal recollections of the conflict and violence he observed.

In Meanwhile, Banisadr’s elaborate canvas encompasses various components to create a disorientating terrain filled with vigorous forms: impossibly-sized figures and exotic fauna emerge from indulgent dabs of oil paint, luscious smears of pigment and colour washes. In this opulent colourscape, Banisadr replicates the chaos of the his childhood memories of violence, confusion and loss. Rendered in rich blue, purple and white colours often associated with miniatures from the Shahnameh: The Book of Kings —Banisadr bathes Meanwhile in a celestial glow.