POOJA SAVANSUKHA ’15
In the latter half of the past week, Trinity College’s Mather Art Space (The second floor of Mather), displayed Iranian artist Parvin Pooya’s works, titled ‘Beyond Reality.’ Parvin Pooya, who is currently pursuing a second Master’s Degree in American Studies at Trinity College, works at the ‘Tea Haunt Cafe’ by day, where her artwork is usually displayed.
Experienced as a director, writer, and journalist, Pooya sees painting as a medium through which she learns about her own creative expressions and those of her past. In her artist statement she explained, “When I think of illusion in connection with an image in my painting, I usually assume that image is true to life.” This notion explains the title of her display, ‘Beyond Reality,’ in that her works go a step beyond portraying real life experiences by connecting them with images that are symbolic of her feelings.
She further explains, “Painting enables me to become a better person, gives me a window into my thoughts and emotions and consequently exalts my spirit.” This is an interesting concept in the way that Pooya seems to use her art as a means to achieve greater self-awareness. This idea is summed up in her statement, “I look forward to sharing the experience of truth, roots of freedom and the unspoken, all entwined together in the silent heart of the painting.”
A simple glance at Pooya’s paintings reveals a few key characteristics of her style. Among these are the use of bright and vibrant colors, as well as a bold use of a palette knife as opposed to brush strokes, which result in thicker coats of paint that make the elements of her work jump out at the viewer. It is not in the least bit surprising that one of her greatest stylistic inspirations was Van Gogh.
Pooya acknowledges that most of her paintings reflect sad stories. They are painted with bright colors to catch the viewer’s eye, in order to make him or her relate to the feeling that the work originally reveals. Some of the most striking pieces in her exhibit included, “The Chair,” “The King and Queen,” and “The Woman Tree.”
“The Chair,” while on a superficial level depicts an empty chair in a colorful background, is painted to portray the idea of loneliness, while the bright colors represent a variety of emotions.
In “The King and Queen,” the faces of the queen and king are painted with bright oranges, reds and yellows; contrasting with the black background. Additionally, it is interesting to note how the faces are emphasized through the shape of facial features particularly the eyes. There is a greater emphasis upon color, strokes, and shape as opposed to finer details.
The fluidity of the strokes used in “The Woman Tree,” as well as the use of subtler colors, compared to the other paintings parallels the subtlety of womanhood.
All in all, Pooya’s work, while extremely effective in its symbolic, more-than-reality portrayals, is most striking because of her use of vibrant color, bold strokes and fewer forms. The works on display were even more interesting in the context of Pooya’s background, as an Iranian who is an experienced director, journalist and painter.
The opening reception for Parvin Pooya’s exhibit will be held on Oct. 24 from 5 p.m. to 6 p.m. in the Mather Artspace. Her paintings will be on view and will also be for purchase.