Transition

Kamran Sharif

Sculptures of “Transition” series display a unity of the visual-mental experience relating to my four recent courses of works i.e., Nation, Transition-1, Domes and Who-is-alive-is-me. In this experience, the introverted nostalgic childish world intertwined with the work is highlighted. Use of dreamy symbolic objects such as tricycles, toys, and hourglasses are indeed a kind of commitment to thoughts about this nostalgic world. Even this dreamy nostology is summarized in my mind by a childish neglect for a simple toy (such as tricycle) caused by the lost and sometimes insecure childhood in some of my pioneers and I. This insecurity is primarily the result of the thinking system relating to the traditional society of Iran’s history and is rooted in replication of inappropriate conventions and behavioral habits. Even the influence of social status of people in their empowerment, threats, harms, and sometimes gender-based aggressive superiority over weaker and more vulnerable classes of people is observable. Often, these behaviors could be reflected in and reproduced by victims and weaker frustrated people against their next generations through similar and sometimes more aggressive behaviors. Similarly, perhaps, I am unconsciously the result of childhood frustrations. In childhood, possession of a thing or the satisfaction of a desire could indeed occur at the heart of a hidden (but accepted) struggle under the shadow of previous generations. Perhaps, because of this, a sense of threat and of course a more dominant sensitive sense are observed in my works. These unpleasant frustrations are more felt due to my immigration from Iran to America. A large number of elements used in my recent works indicate my personal need to pay attention and give a response to this memory. For instance, sculptures of “Transition-2” all enjoy symbolic elements and representative, childish, body-based, threatening, and attentive (due to use of transparent and strong colors and polished metal surfaces) symbols resulting from all of those mental concerns relating to my pioneers and I. These types of influences are almost inevitably and unconsciously created in the person/the artist and I believe if an unchangeable and impenetrable human exists, he/she cannot significantly impact upon his/her surrounding environment.

Kamran Sharif, untitled, from “Transition” series, resin and stainless steel, 100 x 50 x 108 cm, 2022
Kamran Sharif, untitled, from “Transition” series, resin and stainless steel, 100 x 50 x 108 cm, 2022
Kamran Sharif, untitled (detail), from “Transition” series, resin and stainless steel, 100 x 50 x 108 cm, 2022
Kamran Sharif, untitled (detail), from “Transition” series, resin and stainless steel, 100 x 50 x 108 cm, 2022
Kamran Sharif, untitled (detail), from “Transition” series, resin and stainless steel, 100 x 50 x 108 cm, 2022
Kamran Sharif, untitled, from “Transition” series, resin and stainless steel, 67 x 45 x 112 cm, 2021
Kamran Sharif, untitled (detail), from “Transition” series, resin and stainless steel, 67 x 45 x 112 cm, 2021
Kamran Sharif, untitled (detail), from “Transition” series, resin and stainless steel, 67 x 45 x 112 cm, 2021
Kamran Sharif, untitled, from “Transition” series, resin and stainless steel, 56 x 58 x 46 cm, 2020
Kamran Sharif, untitled (detail), from “Transition” series, resin and stainless steel, 56 x 58 x 46 cm, 2020
Kamran Sharif, untitled, from “Transition” series, resin, stainless steel and hair, 101 x 56 x 196 cm, 2021
Kamran Sharif, untitled (detail), from “Transition” series, resin, stainless steel and hair, 101 x 56 x 196 cm, 2021
Kamran Sharif, untitled, from “Transition” series, resin and bronzer, 2020
Kamran Sharif, untitled, from “Transition” series, resin and bronzer, 2020
Kamran Sharif, untitled (detail), from “Transition” series, resin and bronzer, 2020