Title: Touch Has Memory, The Memory Of You
— Wall Relief Sculpture
— Materials: Ink, Acrylic, Hand-Printed Typography And Plaster On Wood Panel
— Dimensions (H X L X W): 5 Pieces Each Piece 30x30x3cm
Statement
Don't Just Talk, See.
Don't Just See, Feel.
Don't Just Feel, Hear.
Don't Just Hear, Listen.
Don't Just Listen, Ponder And Doubt.
What Do You Hear?”
Touch Has Memory, The Memory Of You is a sequential wall-relief sculpture. The work reflects on the process of communication beyond words – in the richness outside the hollowness of the words.
Please check the link for full images and videos https://www.mozhdeh.art/hands
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General Statement About the HANDS, HEARTS, SKINS, EYES. Series:
The HANDS, HEARTS, SKINS, EYES series are a strive to catch the invisible power of pure communication through the invisible shapes of language. They reflect on language (words) through a metaphorical observation of today's form of connection. Today, in our new formation of life, we are surrounded by words and voices used to call, email, tweet, share, yet, there is the potential for all of us to feel hurt and vulnerable for not being heard as the conceptions of words are lost in literal and virtual realities— unheard and untouched. My works seek and project the invisible aspects and impact of the unheard with a focus on the neglected corners and needs for hearing through silence. Words born from silence perhaps can seek their conclusion in silence, to make a passage from silence into the world of communication through re-thinking, remembering and doubt in today's hearing definition.
From that perspective, every work of this series is done differently, sometimes I use perspex some times plaster, some done as a sculpture some are mixed-media drawings, but they all explore the same concept and form from the same research study while the visual elements such as text and colour-like reflective paints which visually create a link between all the works. each project chooses the material to whatever I think would be best for the subject matter. I’m interested in the poetic of materials and I think material and concept aren't separated from each other in the core of every practice.
