Divine Intervention like the other chapters of the Verisimilitudes Project is a sort of confrontation with Iranian history and deliberation on the meaning of identity. This time, however, it happens by motifs carrying for their part the burden of our religious beliefs. An arrangement of intermediary elements that are the fruits of historical and aesthetical experiences of our ancestors in understanding the Holy Cause and an indicator of their metaphysical demand. The archetypes that even today live before us and share an inevitable part of our live.
The icons of Divine Intervention are all constructed like the nature of the photos, although each one of them is subject to its specific historical narration. These narrations have come out of the religious rites and rituals observed in every corner of this land. In this sense, the imagination of the artist is always interconnected with bygone memories, so deep and far that sometimes it is very difficult to discern through them the distance between truth and untruth, original and unoriginal, belief and disbelief, faith and blasphemy. If we manage to pass through this narrow gap, we will surely feel the need of the modern-day man to a miracle more than any other time.
The Verisimilitudes Project comes to an end with the pictures of this chapter. In the past decade, I have never confined myself to a linear path. Renowned film editor Graham Lee believed that everything starts in the middle. I think we can generalize this notion to the end of the stories.
Mehdi Moghimnejad December 2013