Maryam Salamat is een Iraanse kunstenares die in Antwerpen woont. In Iran studeerde ze af aan de Universiteit van Esfahan en had ze een eigen Galeria waar ze haar schilderijen en kalligrafiekunsten aan het publiek voorstelde. Haar kleurijke doeken, zowel abstract als figuratief, zijn fascinerend in hun opbouw en compositie.
Haar kunstwerken werden tentoongesteld in drie groepsexpo's in Brussel en Antwerpen, evenals in twee solotentoonstellingen.
Het Huis van Alijn museum Gent sponsorde ook verschillende van haar werken.
Deze tentoonstelling gaat over kleuren, het motief is ontleend aan het oosten en de mystieke sfeer van de kerk, moskee en klooster.
Farid Kiani, een Iraanse schilderrecensent over Maryam Salamat:
"......Bloemen en vazen in de stijl van Isfahan-keramiek, die de nostaligie van de kunstenaar vertegenwoordigen, worden gecombineerd met de stelligheid van 'de muur'. De muur is een symbool van begrenzing en afscheiding tussen culturen. Vandaar het contrast tussen de warme en koude kleuren........"
".......De wereld van Myriam is een wereld van tegenstrijdigheden, weerspiegeld in de hoge kleurencontrasten. De magie van nostalgie is binnengedrongen in de realiteit van grenzen en muren...."
Volledige recensie:
What attracts attention in Maryam Salamat's work is the gaze of an Eastern immigrant who, in a cultural context alien to her emotions and history, from her usual surrealist style and context to the certainty of a thick wall in the West's exile. The wall, which is always an incompatible structure with the removal of borders between lanes and soils. This recent collection of Maryam is interesting, originating from the special life of an immigrant. Where flowers and vases and Isfahan-style ceramic designs, which have formed part of the nostalgia for the painter, are combined with the certainty of the wall, which is a symbol of demarcation and separation between cultures. This can be the reason for such a contrasting association between warm colors and cool colors in this recent collection. Maryam Salamat has more surrealistic records in her resume, and these records determine the exact relationship between the flower and the wall and the specific compositional ratio of these works in the painter's style. The flowers seem to have woven and found their trapping rods in the grooves of the tile mortar. Can not the flower be considered a metaphor of an artist with a sensitive feminine nature? It is as if every part of the immigrant bio-artist is fragmented, and in return he reconstructs his childhood on canvas, canvas and climate in a discrete narrative. Maryam's world is a world of contradictions and dualities, which are reflected in the high contrast and contrast of colors.
The magic of nostalgia has entered the realism of borders and walls from the taste of the artist. And the old paintings, which have an exotic side to Westerners, are not gone. Only in Vase No.3 can we see that Maryam spends some of those stereotypes of Isfahani style tiles, in a concept that has gone towards abstraction and mentalization of the background.
The creative originality seen in Maryam Salamat's work bears no resemblance to the common stereotypes of Iranian painters, either in Iran or abroad.
A kind of childishness and restlessness and honesty, and the compositions of minimal and pristine serve the content that is thrown from the painter's subconscious like a heavy burden to the conscious and lightens in the field of art.
Te bezichtigen tijdens openingsuren onder voorbehoud van zaalverhuur.
