The Luxury Collection - - Art in Review: Ali Banisadr -

Based in Brooklyn, New York, Ali Banisadr’s back­story is as in­ter­est­ing as his brush skills are pro­fi­cient. Born in Iran in the 1970s, Ali grew up dur­ing the Iran-iraq war. As the war sirens sounded, he would find him­self hud­dled in his base­ment with noth­ing more than the sounds and vi­bra­tions of the con­flict. It was in these trau­matic early ex­pe­ri­ences that Ali be­gan to draw as a way to com­pre­hend and rec­on­cile his mind with the go­ings on of the time. While such in­tense early in­flu­ences would im­pact any young artist’s work, the ef­fect on Ali was sig­nif­i­cantly height­ened due to him hav­ing a rare med­i­cal con­di­tion called synaes­the­sia. This is a neu­ro­log­i­cal con­di­tion in which the stim­u­la­tion of one sen­sory or cog­ni­tive path­way leads to au­to­matic, in­vol­un­tary ex­pe­ri­ences in a sec­ond sen­sory or cog­ni­tive path­way. In Ali’s case, it leads to him quite lit­er­ally see­ing colour when hear­ing sound and vice versa. This has had an un­der­stand­ably pro­found in­flu­ence on his art. Even to­day, he paints to mu­sic and has stated that sound is the foun­da­tional layer of all of his works. Mu­sic like the Ira­nian-amer­i­can com­po­si­tion, As­cend­ing Bird by Sia­mak Aghel and Colin Ja­cob­sen. This un­usual align­ment of two, usu­ally sep­a­rate, senses leads to the work pro­vid­ing a vis­ual rep­re­sen­ta­tion of the mu­sic that in­spired its cre­ation. Ex­pe­ri­enc­ing his work of­fers the ob­server a way to quite lit­er­ally see mu­sic spread out across the can­vas.

Ali Banisadr’s work can be seen in the Met­ro­pol­i­tan Mu­seum of Art in New York, the Mu­seum der Moderna in Salzburg, the Mu­seum of Con­tem­po­rary Art in Los An­ge­les and the Bri­tish Mu­seum in Lon­don.

Con­tact, 2013, Oil on li­nen, 82x120 in

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