Bigindicator

Amir R. Hariri

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20170731150953-sugar_fix
Sugar Fix, 2017 Oil And Acrylic On Board 48"X72" © Amir Hariri
20170731150923-hariri_amir_pool_house_oil_and_acrylic_on_board
Pool House, 2016 Oil And Acrylic On Board 36"X36" © Amir Hariri
20170731150923-hariri_amir_domino_cubic_oil_and_acrylic_on_board
Domino Cubic, 2016 Oil And Acrylic On Board 36"X36" © Amir Hariri
20170731150852-facade_study_1
Facade Study I, 2017 Oil And Acrylic On Board 16"X20" © Amir Hariri
20170731150851-facade_study_2
Facade Study II, 2017 Oil And Acrylic On Board 16"X20" © Amir Hariri
20170731150853-facade_study_3
Facade Study III, 2017 Oil And Acrylic On Board 16"X20" © Amir Hariri
20130627031621-008_72_04-24-2013
Neo Proun, 2013 Oil On Board With Wood 40"X40" © ARH
Quick Facts
Lives in
New York
Works in
New York
Schools
Statement

In my recent work, I attempt to expand upon the contemporary tradition of making and un-making and to expose the blurred lines between evolution and decay. I not only use the current urban state of New York, with its rapid growth and transformation, as reference, but also have looked to general modes of architecture under duress as a guide (modes of destruction due to demolition, natural disasters and war). My focus is on the visceral and formal qualities of decay when communicating history, memory and experience. Moreover, I view the construction site as an architectonic theater for examining ideas relating to notional weight and austerity, material roughness and, in general, systems in entropy. Incorporating materials typically found in construction sites such as clay, concrete, plaster, sand and wood into my painting helps develop this approach. This manner of mark-making engages the viewer, not only in a visceral manner, but also by inciting a pseudo-haptic response. My iconography consists of building components such as wooden forms, bolts, cables and bricks; these serve as interactive elements each communicating a sense for line quality, surface density, direction of force and connectivity. In addition, visual effects are exaggerated using misaligned/forced perspectives and scale changes to invite the viewer into a transitory site full of uncertainties. The studio space is converted into a laboratory environment where, with the help of reference sculptures, I formulate a pathway for the recreation of a state of in-between-ness, a place suspended in impermanence. With the application of an iterative method, which includes installations and demolitions, ironically, we may find that the new also represents a stage of decay, itself.