Bold statement pieces such as this characterise Arjamani’s oeuvre, and within Picture Window we see him continue to challenge and unpick the vernaculars of the built environment through straddling the worlds of art and architecture. Typically understood as a “large window positioned so that you can see an attractive view” (from the Cambridge Dictionary https://dictionary.cambridge.org/dictionary/english/picture-window), the very mechanism of the window from which Armajani draws inspiration is imbued with a certain aesthetic expectation. Bright metal blinds are tightly closed behind a glass window. An abstract interpretation of a typical outdoors scene sees a painted block of a periwinkle blue sky adorning the upper section and sap green below, interrupted only by a yellow rhomboid sun that sits haphazardly in the centre. Additional oriels, tall and thin, adjoin the main window, deconstructing the colours and order of the main scene, with geometric pseudo-stained glass crowning each of the six section. Drawing influence from his mathematical training, his Iranian heritage and from Western philosophy, the conceptual art and installations of Armajani have garnered international acclaim.
Appearing at Documenta 5,7 and 8, and the 39th Venice Biennale as well as the British Museum in London, MoMA in New York and and the Musee d’art Moderne et Contemporian in Geneva to name a few, Armajani has built a reputation as one of the most important artists in America as well as Iran. His quick witted and considered works carry with them keen insights into anomalies and ironies of architecture and public structures, created with the precision of a mathematician and the fresh forcefulness of a revolutionary icon who continues to test boundaries and critique the world around him.
“Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.”
Sol Lewitt, Sentences on Conceptual Art 1969
(quoted in http://artasiapacific.com/Magazine/69/ReturnToExileSiahArmajani)
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