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Aida Izadpanah

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Details Revelation 05, 2013 Mixed Media Acrylics (details) © Aida Izadpanah
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Revelation 05, 2013 Mixed Media Acrylic 70 X 70 © Aida Izadpanah
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Revelation 02, 2012 Mixed Media 66 X 70 Inches © Aida Izadpanah
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Revelation 03, 2012 Mixed Media Acrylics 72 X 62 Inches © Aida Izadpanah
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Details Revelation 03, 2012
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Revelation 04, 2012 Mixed Media Acrylics 46 X 52 Inches © Aida Izadpanah
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Revelation, 2012 Mixed Media Acrylics 68 X 68 © Aida Izadpanah
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Quick Facts
Lives in
New York
Works in
New York City
Schools
The Art Students League of New York
City University of New York Graduate Center (CUNY)
Tags
revelation, mixed-media, abstract, conceptual
Revelation

Born and raised in Tehran, now living in New York City and working out of her Union Square studio, artist Aida Izadpanah possesses a highly diverse repertoire of media and styles, having trained and worked for many years in acrylic, oil, mixed media, watercolor, photography, floral design, and porcelain painting. 

Inspired by Persian poet Sohrab Sepehri’s invocation: “Our eyes should be washed to see things in a different way,” this mixed media series derives energy from unexpected sources and evokes it through analogous methods.  Since moving from Iran to New York in 2005, artist Aida Izadpanah has examined the City’s inconspicuous microcosms with the intense focus of an enrapt outsider.  Her 2010 series titled Walls entailed painted and mixed media interpretations of the artist’s own extreme close up photographs of decaying subway station structures.  Aida’s 2012 Revelation series looks yet deeper into those strata, excavating a drama enacted through time.  Revelation also marks the artist’s next station on her journey of discovering the world with eyes cleansed for the present moment and all the richness it offers.

Revelationis the emotional and visual vestige of a meditation encompassing canvases in acrylic, cement, spackle, sawdust, and other mediums.  The interplay of these deliberately constructive elements with the deconstructive phenomena that they evoke offers encouragement in the face entropy’s indifferent forces: to accept but not assent to the constant degeneration of matter and meaning. 

Each painting is a meditation in movement and line, the nurturing of a flow of energy through the feeling of color, texture, and space.  But this dynamism is also characterized by restless and primitive practices of scraping and carving away at impressions of incompleteness.  As Sepehri’s poem continues, “Words should be washed to become the wind itself, the rain itself,” Aida’s work aspires to such a primary essence of experience.