Manifestation of the Fourth Dimension in the Works of a Painter and an Architect


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Title : Manifestation of the Fourth Dimension in the Works of a Painter and an Architect

Detail :

By Fatemehsadat Abdollahzadehhoseini


When the meanings in an artist's mind shape the space through form and create a concept, it is not an easy task to determine whether the space has shaped the form or vice versa.

An endless persistent spiral movement arises from within two artists from the desert lands without meeting or any verbal communication. Only with the flow of the extract of an artist’s inner perceptions, a discourse created in a form and space from one side of the world can communicate with another in other part of the world.

This linked flow is connected and its roots can be traced in the mysterious whirlwind in the infinite forms of the desert. The music played by the painter and the architect, with their own visual elements, echoes in the ears of the particles of the universe and intertwines at a point.

At one point, the Iranian artist Ali Faramarzi allures us to follow the endless and imaginative movements on the canvas, plunging us into the deep twists, and at another point, the Iraqi architect Zaha Hadid invites us to step into borderless twists to be in touch with our inner selves, immersed in the fluid void space.

The works of the two artists have such visual sensitivity and subtlety that they flow into the hearts of the audience. They have such a simple and unambiguous expression that the audience immediately understands solidarity and unity both internally and in the outside world.

The works have no redundant elements and margins, a feature that makes them quite pure and abstract and allows them to communicate with the deepest layers of existence that may have escaped our memory over time. The audience experiences their deepest unbiased inner emotional layers.

There is substantial formal similarity in the works of the two artists although they have created their works physically distant from each other. This may be attributed to their sub-conscious mind and honesty of expression that originated from their similar cultural and biological backgrounds. The curves, twists, and soft and fluid forms in their works draw the attention of the audience and can be considered complementary to and moderator of the heat and dryness of their ecosystem.

The works of senior artist Ali Faramarzi had previously been displayed at the Niavaran Cultural Center and are currently being featured in the ninth gallery of the Association of Iranian Painters (AIP) on Friday, August 17. Just as Zaha Hadid's architectural space immerses the audience in three-dimensional space and void, in Faramarzi's works, the artist encounters another dimension, which he calls the “fourth dimension”.

Dimension is generally discussed in four scientific areas, namely philosophy, physics, mathematics (geometry), and culture and art. There are generally two dimensions, namely space and time. The dimension of space consists of length, width, and height and the area around an object. Space is both time and motion. Space in painting refers to the inter-form spaces where space has also incorporated the form. In physics and philosophy, too, no phenomenon is imagined out of space. Volume minus space equals no volume. When space is defined in physics in terms of length, width, and height, the fourth dimension, i.e., time, will also be involved. You cannot have a physical reality outside the realm of time. According to Jalāl ad-Dīn Mohammad Rūmī, "Every moment the world is renewed, and we are unaware of its being renewed, whilst it remains the same in appearance; Life is ever arriving anew, like the stream, though in the body it has the semblance of continuity". Ali Faramarzi has explained this before about his works in relation to the concept of the “fourth dimension”. Accordingly, we can conclude that the fourth dimension, which includes the concept of time, also manifests itself within the curves and infinite movements of Zaha Hadid's works. In this way, the audience find themselves in unity with multiplicity of times not only in space but also in time.

Faramarzi describes this as follows:

Today, you know that in the realm of quantum physics, particles die and re-emerge at every moment. Quanta fall into darkness every moment and reappear at an unpredictable point the next moment. This is also the case in everyday life, and every object is constantly changing. This change can be seen in some cases where it takes place rapidly, as in some physical phenomena like when fruits go bad, or slowly in some phenomena, such as the changing of mountains. In either case, change is inevitable. Therefore, where there is change, there is time as well. The term "space-time" in physics and philosophy describes this concept.

It is only in the field of mathematics that volumes can be said to be three-dimensional because they are in the field of embodiment and abstraction. In mathematics, the "point" has no dimension, whereas this is impossible in the world of physics and objective reality. Mathematics is the science of abstraction, a foreknowledge. This is why all mystics and philosophers of the past dealt with mathematics. Symbolically speaking, mathematics is the symbol of the unseen realm in the physical world. As Einstein put it, ‘I feel the presence of God in all my mathematical formulas.’

The "line" is the first sign of dimension and it is considered one dimensional only in the world of mathematics. In addition, the "surface" is only two-dimensional in the world of mathematics.

Culture is a domain that requires a very important element, i.e., the human, in order for a cultural product to exist. If there is no human to understand and receive a work of art, that work will cease to exist in the world of culture. That is why in contemporary art, the viewer is part of a work of art. If a book is never read by anyone, that book will not enter the realm of culture at all.

Faramarzi emphasizes that there is an important element in the field of culture, called the viewer or receiver, without whom there will not be a culture. He further explains the formation of the idea and concept of his works:

I think the viewer is important in two ways; One is that the artist, at the time of creating the work of art, must have one or more mental viewers, and the second is that there is an objective and external viewer who is the actual audience of the works.

A mental viewer is the one for whom an artist always creates works. This viewer is a mental image of an individual, a social group, a particular school of thought or philosophy. Basically, the meaning of artistic personality is what type of mental viewer you visualize when creating a work of art and whom, what social group, or what particular thought you want your work to be accepted by. ‘You first tell me whom you lived with, then I will say who you are.’ When we talk about our view, we are actually talking about our viewer's view. The types of pattern(s) we have form our artistic capacity.

There may be cases where our mental viewers or artistic personality may change, but there will eventually be a viewer at every moment to observe our work. For example, if an artist does not like his/her work to become popular, this thought is considered a mental viewer for them.

According to Hafez, ‘The curtain of thought must be torn.’ This great Iranian poet, who composed so many poems for the objective world, has again encouraged the audience, "Let's break the ceiling of the heavens and make a new plan", where he refers to the mental world.

The culture dimension is like a music instrument that will produce no music or sound until played by a musician. That is why art, as an activity that visualizes and unifies culture, is very important. Art is the manifestation of culture. Understanding and analyzing art requires special ingenuity and talent.

There are days when I feel good and use opaque paint in my work, but the color eventually turns out clear and vice versa! This means that my work reveals what is inside me and elicits it subconsciously.

According to Hermann Hesse, you cannot lie in art as the evidence leaves no room for denial. Even when you are lying, you are calling out that you are lying, in which case you are technically telling the truth!


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