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Jamshid Moradian showing his sculptures at the workshop. (Photo by Mehdi Khoshnevis)
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Stepping into his humble workshop one is awe-stricken by the glory in the air: as if the resurrection of primordial heroes has come. The spirits of mythological giants have found themselves reincarnated in wooden and metal sculptures. Myth is all you sense in the legend-stuffed room, though not in such magnitude as one would fantasize in one's imagination; while the looming existence would gaze through the eye sockets of by no means gigantic wood carvings and glass, stone and metal figures created by Gholamreza (Jamshid) Moradian.
Moradian was born in Tehran in 1952. He went to the Art University in 1978 but left it one year later and resumed studying in Soureh University in 1994. There he became more involved in philosophy, art history of the East and West, literature and mythology.
As a member of the Sculptors Association of Iran he attended national and international exhibitions: Bardonecchia Turin, Italy (2004), China Changchun Int'l Sculpture Symposium (2003), Beijing City Sculpture & Symposium of Beijing in China (2002) in which he won the nomination prize, Exhibition for Earthquake Benefit in Tehran (wood sculpture) (2002), 10th Int'l Art Competition in Osaka, Japan in which his work was selected among 11,500 works from 99 countries. 1995-2000-2002 Tehran Sculpture Biennials, and also a number of exhibits in Tehran as follows: 1999 and 2001 Barg Gallery, 1997 Sabz Gallery, 1995 Contemporary Arts Museum and 1992 Niavaran Art Center.
Iran Daily's reporter interviewed him in his workshop in Tehran's northern district of Evin: Excerpts:
Do you think that the situation of sculpture in Iran has been acceptable in the past 25 years?
We should see what is acceptable. The reality is lack of means and the obstacles in the way of sculpture. The Faculty of Sculpture was closed for a long time but now limited number of classes are held there. These classes are not sufficient. However, there are a number of sculptures which are occasionally submitted for biennials. I think sculpture has not been among the inactive sections of Iranian arts. The first biennial on sculpture in the past 25 years was held after 20 years and the fourth biennial is scheduled for next year.
Why did sculpture not make progress?
Sculpture is not a popular art in Iran. There are a series of intellectual obstacles in the way of sculpture. Several classes have been conducted for this branch of art in the past several years. I saw successful patterns in those classes. For example, last year when we went to Tochal mountains to create sculpture on ice the young artists had made beautiful ice statues despite the lack of facilities.
What should be done to help advance this art in Iran?
That depends on the decision makers in the arts sector and what definition they adopt for sculpture. I think sculpture can contribute to peace and cope with the hectic life in populous cities. Sculpture can help deal with the atmosphere of the big cities which is overwhelmed by traffic and billboards.
Are the sculptures installed in squares not enough for the purpose?
No, The kind of sculpture I meant is those which are placed in public view. They can climb on sculpture, sit on them and take photos. I have taken part in symposiums for several years. I received the jury award in Beijing city sculpture event in 2002. I saw there the people climbing the statues, touching their head and eyes. Azadi Tower and Ferdowsi Statue are the only two monuments which represent city sculpture in Tehran. Of course Ferdowsi Statue is longer a memorial and because of its height is not accessible to the public.
In the statues being built in Iran, Iranian culture and myth are not given their due.
This has always been a matter of regret for me. I remember a sentence from Thomas Bulfinch who, in his book, 'The Age of Fable', pointed to several countries in which artists escape from national mythology including Iranian artists. If we do not appreciate the origin of our country, we could not create modern work. We would only copy the works of others. An artist should know the history and myths of his nation to enable him/her to create an original work. Mythology is the history of the entire world. It does not belong to a specific nation. Taking into account mythology will help an artist to build an artwork for the vociferous world or the era of globalization.
How do you communicate with foreign sculptors?
For the first time, I responded to a call by Tehran Contemporary Arts Museum to submit works for the 10th biennial in Osaka, Japan. I sent photos of my sculpture to Japan. They selected my work for the triennial. Tehran Contemporary Arts Museum sent the sculptures to Japan. They invited me later to go to Japan, but I could not go there due to financial constraints. This year was the sixth round when my works were placed before the jury at the international level. Well, when my works were admitted at Osaka in 2001, I was invited to China in 2002 and again in 2003. In China, I became acquainted with a Swiss sculptor. He told me that a symposium will be held in Italy. I went there and I met 100 sculptors. Such opportunities for communication give me a lot of technical means. The main point is that we should have creative and active artistic skills to make a blend of their techniques in our own works. But, we should not be overwhelmed by their works, because, we cannot embark on post-modernist works in our country. Though we could challenge post-modernist artists if we focus on that genre.
Do you get financial support?
I have received financial support from Tehran Contemporary Arts Museum though it was too meager. I do not know whether or not such support is up to the center for the visual arts. If it is so, it should be enough. For example, I was invited to the symposium of Alaska ice sculpture. It needs at least 20 million rials. Though, I'm the first sculptor to be invited to such an important symposium, I would not go there if I cannot afford it."
How do you teach sculpture to your students?
Well, I never use a model or design for my classes. I mainly focus on enhancing the creativity of the students. I give them the tools and ask them not to think about anything and only let their hands work. They do some work taking advantage of their perception. And then, we add the aesthetic rules on it including form, the vacuum, rhythm and etc., I believe if someone can produce works from his/her own perception, that person could be an artist with a unique style, because your perception belongs only to you. In addition, I believe the students should study some textbooks, because, the artists should acquire theories. The art is the outcome of thought and not a technique. A sculptor should also have knowledge about poetry and music. How can a person be a good sculptor without listening to an opera even once? In literature, there are novels well known worldwide, how can a person become an artist without knowing the internationally celebrated novelists.
