An Enigmatic Exhibition: The Origins of All Things
Experience the captivating work of mysterious Iranian street artist, Mirza Hamid, at a month-long exhibition presented by The New Gallery at Basilica Hudson. From October 5-29, “The Origin of All Things” showcases Hamid’s paintings, photographs of street murals, and original drawings. Known as “The Banksy of Iran” in his homeland, Hamid’s true identity remains unknown.
Hamid’s street paintings are a visual feast of monochromatic conceptual figures, painted with red earth pigment reminiscent of ancient cave art. The accompanying photographs of street murals in Tehran, some of which no longer exist due to city cover-ups, are works of art themselves, captured by talented photographer Morvarid Khalilzad.
A Glimpse into Mirza Hamid’s World
In a recent interview with The Times Union, Hamid revealed that he chooses to use red earth pigment because it symbolizes the first pigment humans ever used. It can be found in ancient Persian pottery, paintings in the Grand Canyon, and even on Egyptian mummies, where it represents life after death. For Hamid, red earth is the color of humanity, representing our universal sense of estrangement and exile.
Drawing inspiration from the everyday, Hamid searches for unmarked walls in busy streets, ruins, and even on government buildings. After his paintings grace these spaces, a new story begins for each wall. Hamid recalls a meaningful moment when he painted three murals on a water department’s wall in Tehran, only for them to be painted over the next day. However, he received a direct message on Instagram from the security guard at the water department apologizing for their removal, proving the impact of his street art.
From the Streets to the Galleries
Hamid’s reputation has transcended Iran’s borders, earning him global recognition. He was featured in the Victoria and Albert Museum’s Epic Iran exhibition in 2021, and the museum acquired a 9-foot canvas from Hamid for their permanent collection. This summer, he also showcased his work at NADA Foreland in Catskill. Such recognition has granted Hamid a level of legitimacy often denied to street artists working subversively.
Reflecting on his artistic goals and mainstream success, Hamid eloquently shared a mysterious metaphor. He compared himself to an ant that unknowingly hitched a ride on someone’s shirt and ended up in the city. Just like the ant, attempting to determine the future is futile. As an artist, Hamid believes in focusing on the purity of his craft and persevering despite external circumstances.
Ambivalent about the protection that gallery exhibitions provide compared to the vulnerability of street art, Hamid acknowledges the transient nature of beauty’s shield. He recounts murals in Tehran that were painted over by the city, only to have the red earth pigment reemerge and shine through after two years of rainfall. To Hamid, these incidents are beautiful and welcomed.
Inspiration from Mystery
Hamid draws inspiration from a fellow Iranian artist, Darvish Khan Esfandiyarpour, known for creating a mesmerizing Stone Garden near Sirjan. Over several decades, Esfandiyarpour uprooted dead trees, planted them in his garden, and adorned them with large stones, silently protesting the Iranian regime’s land reform plans. What fascinates Hamid is the mystery surrounding Esfandiyarpour’s work. The sense of astonishment and wonder it evokes is rare in a world where science often provides immediate answers and explanations.
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