by Miriam Eleonora Barosco
Through his sculptural works, the Iranian and American-naturalised Kamrooz Aram exemplifies his research on the dissection of decorative elements. Archeological findings – whether genuine antiquities, replicas sold in gift shops, artist’s creations, or objets trouvés – emerge as sculptural forms against the painted surface, where the latter serves as a backdrop to the former. Equally part of these emotionally and spiritually charged environments, after Luis Barragán and Carlo Scarpa, are the architectural materials used (brass, hardwood, terrazzo), that have required a great deal of craftsmanship from the artist’s side.
The abstraction of a fragment from a serial pattern, advances the idea that each wedge can also be seen as half a diamond, and that the dimension of the tile can offer the perfect opportunity for self-enclosed ornamentation. In a reciprocal relationship of interdependence, each party of the installation – namely the sculptural object and the painting – provides a context in which the other can be read. Deeply aware of the rules of exhibition design in the West, Kamrooz, in fact, proposes a renegotiation of the modernist way of looking at objects from the East.