Dramatists of Joyful Scenes.
Although the work of Bijan Nemati Sharif cannot be looked at as one specific field, researchers in the field of the dramatic arts believe that with his acceptance to the Center for the Intellectual Development of Child and Adolescent, a new path was opened for him in the genre of puppet-making which lead to the development and creation for the following generations. Sharif’s continuous creativity in the field of the visual arts of contemporary Iran, is without a doubt something to be looked at closely.
In today’s advanced field of sculpture, Sharif used new materials in order to facilitate and emphasize his creative process; and he distanced himself from the label of pseudo-modernist sculptor. The works of Nemati Sharif break through the borders of media. By using a pallet of color and creating a scenario he makes connections with his puppets. By covering his sculptures and elements with decoration, he suspends his work in a sphere between sculpture and the theatrical stage. By taking advantage of multiple media and modern visuals, he challenges purist views and seeks to describe the development of media, subject matter and the audience. Nemati Sharif is a scenarist of a joyful and imaginative world in such a fluid manner that leaves behind most clichés, creates limitless borders and develops an atmosphere where the audience can relax within his artwork.
Sharif is one of the artists who has been able to do away with the limitations of materials and vertical presentation. The different outlook of Nemati Sharif’s thought process in his puppets, paintings and sculptures makes him an independent artist with personal expression along withhis intermediary paradigm approach which creates a homogeneous relationship.
With his own world view, Sharif makes use of deformation in his drawings, paintings and sculptures that transform into his own expression and within the development of his visual work in the wide open threshold between form and color and design.
By taking advantage of deconstruction, Nemati Sharif, by breaking down elements and then reassembling them, creates an unreal atmosphere and succeeds to do away with anti-characterizations in the scope of this development. By using personal-local narratives, he is able to focus on nativefolklore. He incorporates a type of collageand assembly and focuses on human beings and their environment.
By doing away with bases’foundations for his work, Nemati Sharif tries to distance his work from idealistic objectivism and to distance them from materialistic praise and from elemental analysis as well as staying impartial from modernistic sculptures and the pluralism of form and mass by using the surrounding space as much as possible.
Nemati Sharif’s visual works using postmodernist components, parody, pluralism and allegory find a contemporary aspect,thus establishing a continuous connection with different social strata through the use of self-questioning and essentially familiar signs.
Nemati Sharif depicts a world based on a childlike dream and he places us within them thus openly showing us the situation and taking us into a playful and fun-loving dream. And at the same time, these colors allow us to be free of the gray world that we reside within.
In his works, Nemati Sharif, combinesthe artificial and the natural, choosing details in a way that we can relax in the back of our minds to interpret and organize our thoughts.
The selection of elements in Nemati Sharif’s sculptures and paintings, the companionship of man and animal and objects, and their unconventional arrangement, create anunnatural atmosphere that makes this mental context different from that of Sharif’s contemporaries.
Today’s artworks and the environment of modern man are essentially different from the modern and the post-modern ages. Perhaps today, we cannot look at an artist as a genius or someone with special abilities. Today, finalizing a thought process all the way through is what constitutes an artist’s lifestyle. On the other hand, in the art world today, emphasizing globalization is almost such an equally important phenomenon for the third millennium, that it has an increasing impact on the status of this century’s art.
Such a shaping of views and tastes is perhaps a warning sign that accompaniesstagnation and boredom. Therefore, artists such as Bijan Nemati Sharif, who themselves are a source and have their own independent style, view and thought process, insist that every moment of this be long lasting and be part of this nation’s cultural history. Bijan Nemati Sharif has set the true definition for an artist’s artistic life.
