Friday, November 22, 2019-Friday, November 29, 2019
Mehdi Sahabi’s enchanted mind is distinctively unique. He was passionate about casual application of mediums either disposable or customizable. Only he would manage to highly characterize wandering “figures” among “crashed cars” or paper faces with the least possible details, and using a pair of wooden laundry clamps and comb manufacture such believable “birds”. His mature multimedia attitude made him capable of creating plain yet genuine artworks devoid of exaggeration.
Without doubt anything that occurred to his multi-dimensional prolific mind would potentially turn into an artwork. Only looking through his eyes one may want to frame colorful appropriate and inappropriate “graffiti” and exuberantly relish sprayed vulgar scribbles on rough cement. 
Over and above, he was loyal to all his series and none would actually terminate for him. A fraction of an eye of “Archamanian faces” might be captivated in a modern wooden wall sculpture or sometimes staring at the camera lens from under his layered “photo media”. His “paper faces” are constantly snooping around hued totems or posing in “personnel photos”. He believed most of his artworks are merely spontaneous and he has no statement for them. However, who can watch his jammed “crashed cars” yet does not feel the pain of wandering “figures” roaming about? I tend to think he was persistently commuting through his artworks, writings and translations. He would live with one while keeping an eye for the other. He would write with his volumes and he would illustrate his swamped mind in his works of translation as if by seeing one or reading another you may see the implications of the other.

Mojdeh Tabatabaei

In his book “À la recherche du temps perdu”, Marcel Proust presents a type of narration mainly to excite the reader’s sense of vision. Basically the novel is about unintentional memories and to summon them up, the narrator exploits different senses. Meanwhile, the role of colors in provoking senses is highly essential that one may say they are utilized as ideology.
Therefore, to Proust assigning colors to objects is observing through personal perception and creating art, is all he aims for. Considering the above-mentioned points, besides translating, the translator also fabricates a whole new world to decipher Proust’s ideology and to metaphrase his vision of the world in the destination language. Years of working on Proust’s has made the translator to bestow a provisional ideology based on colors as a harmonic architecture; to that end, in order to procure his unique wording, the translator not only meticulously comprehended the grammatical structures of the script and converted the lengthy statements, but also he made a great amount of efforts in perceiving the aesthetics truth of colors in Proust’s work. 
In Sahabi’s visual art, particularly in his paintings, we see colors not merely as agents in form constitution but as architectural foundation in which every hue is delicately positioned next to another to generate the stunning groundwork of colors. Having all said, colors entail a phenomenological effect; that is as they appear, without deviation they spontaneously refer to themselves depicting an aesthetical schema. The same way every tint has a coordinated relation with a character in Proust’s novel, in Sahabi’s artworks too colors, red in particular, may provoke personas and even multiple social situations as well as internal references in observer’s mind. Red has various implications in Proust’s treasured book. In different situations, it expresses diverse states; somewhere in the book it is scarlet bright, imperial and easy on the eye; auburn dark and dull as the color of evil shoes somewhere else and at some point it reveals human actions brutality. Hence, even though Mehdi Sahabi may have been impressed by Proust’s book on various levels, his marvelous manipulations of red color has rendered a semantic plurality adjacent to Proust’s ism of “self” transformations and multiplicity over time.
Sohrab Ahmadi