Milad Jahangiri (b. 1989, Karaj, Iran) has held two solo exhibitions in Mohsen Gallery, entitled “In the Dull Black Roads” in 2016 and “On the Bed of the Dead Tree” in 2017. He has participated in numerous group exhibitions.
Near my place of residence, relatively far from the city, I met an old man who spent several years in the same house after his wife died until he passed away a few months ago. There is nothing special or unique about this story. Yet, I kept thinking about it for a long time, like the story of loyal lovers who gladly endure the suffering that the remembrance of their memories would bring. It is as if I am on a path that leads to salvation at the moment of death. Its closeness to death makes sense of the loneliness in such a painful condition. In this series, I have sought to recreate my own self-imposed ascetic experience; asceticism in the creative process of the works that are visual representations of an attempt at finding salvation, not matter how long it takes. It is with such timelessness that the figures of these works either appear lifeless or link themselves to nature in order to endure the sorrow of the passage of time for eternity. As Van Gogh has said, “Sorrow and grief are far more precious than joy, for mourning purifies the soul.”