EXHIBITIONS
U.S, CHICAGO
West Hubbard Gallery
61 W. Hubbard St., 312/321-9365
Among the functions of masks, two in particular are suggested by Mahmood Ferdowsi’s “mask canvases”; they symbolize an inner emotional state and solidify a particular mood. These works of revelation, rather than transformation, seem to reveal both the Persian psyche in general and its influence on the artist himself.
Ferdowsi is a three-dimensional painter. He shapes and drapes his canvases to form upper torsos from which mask-like faces project at various angles. Between canvas and papiermache relife, he achieves a wonderful organic unity, largely by covering the entire canvas and mask with a painted design which combines abstract calligraphy and geometric patterning. The veneer of culture is trans- posed onto the very skin of the individual. All of these figures bear the indelible tatoos of their society. Some of the “ masks” have eyes or entire faces encrusted with glass mosaic pieces; they produce a passive, eerir effect. This is the case in Emptiness, in which the face is covered with a chodor (veil) and all emotion is repressed. Self Portrait , which depicts the artist with glass eyes and a slightly open mouth covered with wire, gives the strong impression that this is a person who has been censored- politically and culturally.
This is also the case in the stark, icon-like Tradition Bound in which the overwhelming decorative surface produces the same effect. In some cases however, these masks seem more decorative than evocative; goudy rather than expressive, They are like opera sets which are best seen from a distance. Ferdowsi’s work , which has much in common with that of another multi-media artist, Marisol, has not yet achieved her inspired level of subtle commentary and satire.
HEDY WEISS