Zeynab Movad’s recent art work “As It Is” has been on the walls of many galleries in Iran’s capital Tehran.
There is a profoundly new approach in her work that separates Movahed’s works from the dominant genres that have existed in Iranian Art scene in the last two decades.
The limited ways of artistic expression that the authorities allow Iranian Artists, were a very influential fact to push the artists toward the symbolism and even all kinds of post modern presentations.
Zeynab Movahed, in this regard, acted differently by creating two conceptual layers in her new collection. She emphasizes women’s suppression by depicting faceless figures but none the less gathers all her technical ability to show their beauty as best as she can.
Her attempt reminds me of an early Renaissance artist Jan van Ayke who became famous for painting portraits of aristocrats in Philip the Good’s court.
Jan van Ayke didn’t care that those rich religious landlords had nothing to do with his spiritually religious artworks. He created his art works based on his own personal belief.
Zeynab Movahed created art works that not only satisfies the authorities’ values but also went beyond their pretentious principles. She was able to capture Iranian female’s subtle beauty and dignity while depicting her undignified and suppressed life.