Nima Zaare Nahandi
Study For Nucleus Accumbens,
Acrylic on Paper
40 x 50 cm
1250 EUR
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ARTIST STATEMENT +INFO

In a schematic manner, this series reflects the coexistence of two time-based phenomena: human history and the history of the universe. The images reflect on the forces and drives that maintain the function of these phenomena. The history of the universe is omnipresent in itself, encompassing the formation of matter and the evolution of its forms, such as atomic behavior and molecular relations. As a micro-scale timeline, human history is a part of that history embedded on its chronology. The material structures built by humans to house and represent civilizations, are tied to the formation and decline of those civilizations. These physical structures display the immaterial entity or the “soul” of each civilization. The era in which each civilization was active is marked by the motor forces that animated that civilization. Nucleus accumbens is by definition an area in the human brain which has an important role in motivation among other functions. The ruins depicted in these images schematically represent the components of a civilization. If a civilization could be taken as a system with a behavior, its components are animated by the motivational forces that maintain them, in analogy to “nucleus accumbens” that motivates and acts as a motor force. Alongside the drives that maintain the function of human history, the forces that run through matter which maintain its consistency and behaviors are depicted in these images. In one image we see a sun-shaped form which is the atomic model for helium; in another, a molecular diagram of the fusion of different states of matter in the form of water, solid and gas.

BIOGRAPHY +INFO

Nima Zaare Nahandi (b. 1983, Tehran) starts his works with research and analytically finds his way through his expressional concerns. Graduating in Pure Mathematics from the University of Tehran, and later continuing his studies in arts from Beaux-Arts in Paris, and spending a two-year-long art residency at Casa de Vèlazquez in Madrid, he developed his personal style and philosophy. His delicate technique and ultra-fine details, like his approach to his subjects, develop over time, in instances taking over months of continuous work to evolve into the final oeuvre. In most of his recent works, using the most basic drawing material, pencil, in a man-against-machine challenge, he adds ultra-fine details to an already detailed layer of archival print.