Amin Shojaei-Portfolio (1) · 2 days ago · Amin Shojaei CV Visual Artist Born 1986 Tehran , Iran...

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Amin Shojaei CV

Visual Artist

Born 1986 Tehran , Iran

2014 Master of Industrial Engineering, Industrial Management Institute, Tehran, Iran

2010 Bachelor of Mechanical Engineering, Azad University, Tehran, Iran

Solo exhibitions:

2020 3 platform Tehran with collaboration of paadmaan

2019 Lizieres Foundation Epaux Bezu-Paris

2018 Aknoon Gallery Isfahan

2017 Iranshah Gallery Surface space, Tehran, Iran

2015 O Gallery, Tehran, Iran

2009 Darya beige gallery , Tehran, Iran

Group exhibitions :

2020 online exhibition “unfinished”project curated by foad Alijani and hamed

dehqan

2019 Saatchi Art Gallery London Digital Screen Project

2018 “O” Gallery at Neshiman Space Shiraz

2016 Versus Art Contest Niavaran Art Center

2014 Iran Artists’ Forum, Tehran, Iran

2013 Jorjani Gallery, Tehran, Iran

2013 Jorjani Gallery, Tehran, Iran

2012 saba gallery , Tehran , IranNumber 16, Gharani Alley, Valiasr St., Tehran – IRAN

contact

Mobile in IRAN : +98 912 358 2419 Mobile in FRANCE : +33 644 068 892

Email : info@ aminshojaei.com Instagram : aminshojaeee

website:aminshojaei.com

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ARTIST STATEMENT

Solo exhibition at

“O Gallery“

31 july- 10 augest 2015

The gradual annihilation and decline of human civilization is what is at review

in this collection. In these works, at first glance, Amin Shojaie expresses his

concern for the nature and environment, and criticizes the relationship be-

tween the contemporary human and nature. Using material detached from

the nature, he experiences an organic act, and in this collection of devasta-

tion, reproduces absorption and expansion. Even more generally, in a wider

span by creating a abysmal pit in layers of history, he refers to collective un-

conscious and opens the common dressed

wound.

INSTALLATION

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INSTALLATION

Untitled 2014 70cm×70cm Cement, sand, alluminum, and plastic sedimentation series

PAINTINGS

200cm×90cm 2012 Balsa wood ,plastic and fabric installation on canvas

PAINTINGS

200cm×90cm 2012 Fabric, nylon and found object installation on canvas

PAINTINGS

200cm×90cm 2012 Balsa wood ,plastic and fabric installation on canvas

PAINTINGS

160cm×70cm 2013 Acrylic and fabric installation on canvas

PAINTINGS

140cm×115cm 2013 Acrylic and fabric installation on canvas

PAINTINGS

120cm×100cm 2012 Balsa wood and acrylic installation on canvas

PAINTINGS

100cm×70cm 2013 Acrylic and wood installation on canvas

2012 Acrylic ,wool string installation on canvas

PAINTINGS

80cm×60cm

PAINTINGS

70cm×50cm 2012 Acrylic ,steel nails ,installation on canvas

PAINTINGS

120cm×150cm 2012 Acrylic ,cotton, paper wrap , impasto medium installation on canvas

PAINTINGS

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PAINTINGS

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INSTALLATION

WOODEN BOXES

WOODEN BOXES

200cm×1200cm 2015 Acrylic and oil pastel on Wooden board, gesso priming and acrylic

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NEURO VIRONMENT

This collection was formed based on the artist’s reaction to an absence of sensors bonding man and nature. Sensors that would be able to instantaneously monitor nature and transform information received into parametrical statistics to establish a basis for decision making. Surfaces made from flexible structures and light material such as wood, metal screens and linen are reminiscent of birds’ nests, cocoons of insects and/or spider webs, forming flexible homes within the existing environmental setting. Man’s primitive homes made from tree barks and fillers such as clay and plaster inspired me as well in designing an environmentally flexible model against modern constructions that are more resistant and rigid in adapting to nature. A network of orderly pieces of wood bound together have been wrapped around the frames, resembling a halo and acting as a medium to connect the interior with the exterior. The exterior encompasses a disjointed and hollow space while interior frames are quite smooth and polished, with narrow grooves directing one to dis- cover the interior of the art piece. Some other pieces of art display a rougher and less orderly texture, made from natural raw material such as cotton, bio-adhesives, hay, wood and leaves; the originality in the raw material reflects nature’s simplicity and mortality. The paintings are products of a continuous process of destruction, abrasion, bat- tery and stuffing, resulting in their amalgamation with the physical surface beneath them in such a way that has them carved or torn in some areas. Just like physical pieces, drawings contain two main visual layers. One is the linear layer that contains the frames and the other is the encasing layer that forms the texture and wraps around the frames. The layer containing the texture is at times placed on top of the frames and at others vice versa. The structure of frames, per se, becomes so prominent at times that it bulges out of the painting in bold lines and, occasionally, the whole piece is covered by a thin layer of paint very much like a piece of cloth that covers a structure. Creation of these works has been for me, similar to a physical struggle wherein, layers are created and then destroyed numerous times as if they tend to destroy each others’ ideas and at times extend very much like pieces of string, crossing and occasionally tangling in each other. Representation of such an interaction of ideas will be network of layers bound together by a superficial transformation of shapes, density, expansion and adhesion of material. The superficial and encompassing halo symbolizes language and law. Through the entangling of various aspects of human ideas and mass interests in the surroundings, an intricate a network of shoulds and should-nots is created symbolized by human language and law. The strands of this web have linked people and objects,

and the internet of things is a modern manifestation of

this.

Each of the links transfers a message within a fraction of a second, through the

connections that it makes. We are faced with a global network of information

transfer, in which -within moments- comprising elements impact, correct and re-

arrange one another and I call it the collective mind.

The creation, correction and re-arrangement of information are characteristics of a

meta-human mind quite similar to how information from the New York Stock Ex-

change market may affect the population of Pandas, or whose volatility may create

or destroy many companies.

Man is neither at the center nor in the margins of this bonding. The bonds are like

an electric current constantly circulating in the collective mind of the metahuman

and connections are what fundamentally intellectualize the collective mind.

Shouldn’t we then, instead of focusing on man’s needs in the era of communica-

tions, install environmental sensors in the modern communicative network (the col-

lective mind)?

Personal concerns of the artist:

There is a logical relationship between CO2 emission and its use; and every indi-

vidual can balance them in his/her personal life. For instance,

anaverage Iranian’s daily commuting produces an amount of CO2 equivalent to

an-

nual emissions of two-hundred 40 year old trees. Do any of us Iranians ever plant as

many trees in our lifetime? Have we ever given thought to these figures?

When putting firewood in fireplace to warm ourselves, do we ever think of having

to return as many trees back to nature?

How many trees will it take to compensate The CO2 we are producing is

equivalent to the amount of co2 emitted by trees and is our existence merely

detrimental to nature?

Do we ever think that the goods we produce, or cause the production of, should

be recyclable?

These are questions worth pondering, in the intensely consumer based society of

Iran, which is headed, at tremendous speed , towards depleting environmental re-

sources.

In the more developed countries, this bonding has partially , been converted into

product standards, implementation of which enables consumers and governments

to monitor the emission of CO2.

There have also been standards set for the amount of exploitation of forest

resources, making products abiding to them more attractive and popular to

consumers

It seems that our beloved Middle East has fallen into a heavy slumber.

EXHIBITION REVIEW Amin Shojai’s structures, volumes, installations and paintings can only be defined in terms of their relation to Earth. In Greek mythology, Gaia is the ancestral mother of all life, the primal Mother Earth goddess, the symbol of femininity and fertility and the creator of everything we know today as nature. The sky, the land, waters, plants and animals, even natural forces such as wind, storm and quakes, are all considered as manifestations of the generative quality of this goddess. Because it rings true to our ears and is in harmony with our desire to return to nature, this belief has endured in our collective consciousness. The archetype of Gaia and the myths and legends formed around it has been a great source of inspiration in arts, philosophy, literature and even science for cen- turies of western thought. English scientist, James Lovelock, formulated Gaia hypothesis in 1965 based on this myth. He proposed that living and non-living parts of the Earth form a complex interacting system that can be thought of as a single organism. So rivers work as the veins, jungles as the lungs, and oceans as the heart of the planet Earth. Magnetic fields are its nervous system, constantly charged from the inside and the outside, i.e. the universe. All elements that are found either as solid forms or gas, in the air, soil or water, are continually circulating in orbital electronic circuits both inside and on the surface of the Earth in order to sustain life on the planet. Contrary to Darwin’s theory of evolution, this hypothesis does not consider life and living creatures as passive and static, but as parts of a more general mechanism that influences the ecosystem. Our entire planet is a living organism, and each of the living things are its cells. With his constant preoccupation with nature and the environment, Amin Shojaei has created works that recreate the recollection of a more affable life with our blue planet. His structures rise out of the ground and move up into the space and sometimes expand horizontally on the surface; both movements symbolize a sense of growth. If trees and plants’ growing out of the ground in search of life is reminiscent of birth, regeneration and wood, or the trees’ dead body, in order to remind us of destruction. That is why his structures have an ephemeral quality. Installing fragile lattices in the solid wooden volumes, makes the audience doubt their durability, or displacement and reconstruction. This “un-structure” is at the core of our industrialized life. The artist is trying to remind us of this annoying dichotomy and this problematic fear and hope. How our lives on the planet (that is increasingly seem to be safer and more comfortable with the advancement of

technology) is endangered by the extraction and consumption of non-renewable

resources of the Earth?

Believing in the existence of invisible forces that, as a network of peripheral nerves,

sustain and ensure the survival of a super-organism such as Earth, the artist

puts the mechanisms of some of his works in relation to a network that looks like a

nervous system. In another level, there is also the metaphor of “neuro-

environment,” emphasizing the continuity of the interwoven network of urban life

as a construct- ed nervous system that controls and governs the citizens in a

cold architectural environment that hold them back away from nature.

Entangled in this complex network, the artist wisely endeavors to engage not

only our sight, but also our sense of touch and smell by using the odor of

natural elements such as wood.

In his second solo show, Amin Shojai exhibits a coherent series of works that is

an inevitable sequel to his previous works. He still insists on his formal and

concep- tual concerns and seeks to create artworks that not only present his

audience with the possibility of gaining aesthetic experience and enjoying a

visual encounter, but also to raise awareness of human responsibility vis-à-vis an

environmental di- lemma.

Hamid-Reza Karami

Autumn of 2017

INSTALLATION

INSTALLATION

72 x 74. h : 163cm Wood, Saturated wood, Non-saturated wood, Wood glue 2017

INSTALLATION

INSTALLATION 500 x 190. h: 190cm Leaves, wood , Sawdust , wood glue 2017

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99 x 65 h : 115cm wood, Leaves, wood, iron wire, Sawdust , cotton, nature glue, wood glue 2017

INSTALLATION 128 x 160. h:190cm Wood, Saturated wood, Non-saturated wood, Wood glue 2017

INSTALLATION 380 x 200. h: 210cm Wood , flax, Wood glue , iron wire 2017

INSTALLATION 9000 x 160 h:130cm Sawdust , flax , wood glue , 2017

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94 x 36 h: 134 cm wood, Leaves , iron wire, Sawdust , nature glue, wood glue 2017

INSTALLATION 260 x 340. h : 90cm Sawdust , flax , wood glue , card board 2017

INSTALLATION

310 x 380. h: 90cm Wood , flax, Wood glue , iron wire

PAINTING

166 x 102 cm Acrylic on wood 2017

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166 x 102 cm Acrylic on wood 2017

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50 x 40 cm Acrylic on burned cardboard 2017

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60 x 70 cm Acrylic on Cardboard , Stones and recycled

60 x 70 cm Acrylic on cardboard 2017

PAINTING

167 x 167 cm Acrylic on canvas 2017

PAINTING

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Artist as

a gardener

The Artist and the gardener both are connection maker within boundary of the garden who weaves a resilient natural web work of biologic connections . My approach in art is to find some critical miss connections and repair them to makes changes on ecosystem and the social brain. As an example ,Permaculture gardener observes the land to find the critical points and the ways to store energy of land via different height levels also he should weave layers of life to make a complete food chain inside and above soil. This artwork was made in corner of lizieres land ,making a protected space for vegetal life to grow. some species of plants have rooted in soil and made the construction resilient against wind.

Also birds go inside it in summer as a shelter against heat

and sun.

Decay

process My art works has an aesthetic process of decaying which is found in nature. I think that decay process is a main part of production and production should be practically involved in process of decay.

Multy-layer

ecosystem This series of works is a part of my search on plants growth and architecture and how they can be matched via layers of their skin . Goethe labels two kind of tendency to grow in a tree , as he explains, one is vertical which is related to male qualities of a tree and the other one is spiral and related to female quality of a tree which is concealed during the development of plant but predominates during blossoming

and fruiting .

In lowest level of jungle canopy ,small trees with low light wait some

decades for death of another tree for an open space in ground and

light to grow .during these decades they get more and more stronger

for future life in a limited space .

trees are connected to each other via their roots and share water and

nutrition via rooting system allover a forest or jungle. Via this connec-

tion even a tree with stony soil and low water absorption has almost the

same size as a one with nutritious and well absorbing soil. Also fungus

as a guest , delivers a kind of fast connection between trees and it’s a

sensing network with much higher speed which is spread everywhere

usually hidden in leaves. Also trees communicate via exuding different

smells as another fast communication solution.Trees mainly use these

kind of connection as a biologic neurons who exist in a group.

Can we call this multi layer interwoven system as brain ?and how we

can re-arrange our growth with this brain?

88 AMIN SHOJAEI

Project in villefranche sur

Saon

Floating structure which is made from cotton and th e i d ea co mes f ro m how environment can be connected to human settlement .

my floating structures are light and air can pass through them . I seeks for an architecture of space in which the boundaries of rigidiity breakes and the whole structure iobeys the rules of fluidity ..

it stimulates the act of give and take in a tree and how its moving leafs absorb the oxygen and turn it into existence .

I think about plants growth and architecture and how they can be

matched via layers of their skin .plants have different layers of existence simultaneously and the idea of life as a multi-layer existence made me to think for the skeleton , surface and the floating structures . how trees transform free space around them to existence and float in air is my question and the skeleton as a growth direction which is formed based on the tendency of growth and the external forces and seasonal affects like snow which forms bends and curves in the growth lines. I use the medium of environmental installation and drawing as a sensor. Via sensing of growth direction with lines and textures I can make a connection with soil and earth while allowing free space to flow in my mater and make voids.

4 trees holding the

skies

This artwork was made in forrests of Ramsar province in Iran. Its location was toward the Caspian sea and between 4 trees which were planted by forrest preservation community. The linear arrangement of trees rais- es question of what is natural and what is synthetic ? I think , It is necessary for man to act as a role not only in observing but also in the role of the intervention of the atmosphere in nature. Inter- vention to modify previous interventions and return to the pre- indus- trial era. We need an ultra-language experience to relate communication with the nature>s goddesses by linking the emotional and experimental layers. It is necessary to insect our skin so that the nature gods can be found in our bodies. We need to cling the rocks in our hands so that they can be found in our sleep. The sound of the creatures that have been removed is lost in the air. It>s safe to stay in many forests ,without fear of wild animals, it is just as tiresome as drinking potted water next to a pure mineral spring.

Mayans creation

Tale

Yukatan Maya considered the land a cornfield of four-eyed peoples, and Popula>s epic , creation began with a vast expanse of sea and sky be- fore the creation of the earth. The Genkamats> winged snake speaks with the sky with bright green and blue feathers in the water, talking about the first creation of man- kind. Only by their conversation, mountains and the earth magically flutter through the waters, and pine and cedar forests cover the land- scape at once. According to mayans tales of the creation, humans after three unsuc- cessful creations stories, in the fourth attempt of the heroic twins after the defeat of the gods of the underworld, are released from the world of Shibala monsters and could find the proper material for the creation of a human beings. The journey of the corpse god and his children into the underworld ultimately ends in the creation of man from corn, which is the origin of the new man. The current world was formed after the earthquake crocodile was killed coincided with a huge hurricane.The great crocodile is murdered to create the earth. Immediately after the storm, four large trees in four directions and one in the center , grow to hold the sky and created the earth. Diyahu de landa refers to four heavens carriers in Yukatan>s history book. These four goddesses were called Bacobas, each in the corner of the earth to carry over the sky and prevent it from falling.

Mehr

and

Ahriman

In the myth of Mithraism in the battle of Mehr and Ahriman, Ahriman creates a flood, but creates the seal of the tree and teaches humans how to make a boat and save themselves and their flocks.

Yalda

On the night of Yalda, a ride on a four-horse arbiter, which marks the four main elements, ascends to the sky and becomes one with the sun.

Civilized

by wheat From 10000 to 7000 years ago man started transition from hunter gath- ering stage to farming stage by passage of Neolithic revolution .some ancient grains were worshipped by ancient civilizations and they started to domesticate some species like emmer wheat and einkorn wheat. Man started to civilize in smaller lands with more concentrated population and this had many advantages and disadvantages. Homosapiens lost a big portion of his nutritious food which were gath- ered from natural areas and instead ,he forced to consume domesti- cated grains with less nutrition. he started to domesticate cattle to access his need for animal protein. By changing life from hunter gatherer to sedentary life ,man had to fight with many diseases and illnesses caused by cattle close to his living place. small groups and tribes could unite and make centralized power. As a result ,primitive religions and gods were made . Man had to think about architecture of cities and power , based on geo- graphic properties of land. initial cities had different layers for different groups s of social hierarchy and in the center the most loyal elite were positioned. Relation between farmers, kings, traders and sailors were the architecture of cities and it was a translation of social hierarchy in space and forms.

This piece was made on a wheat farm close to Raga historic area and demonstrates the idea of centralized architecture which was the result of food growing and creation of gods. The blocks of straw which demonstrates a basic architecture has bees flourished to blocks of power in post industrial era and in middle east the oil acts as the same block or barrier against the growth of liberty.

A hole on the roof , or a roof on

the hole

This work was formed on a path passing from Ramsar Jungles located in Arbe-kalle mountains. It is derived from the nest of a local spider , in which it hides in a hole and looks for victims.

This body of artwork has no specified connects roof to the earth with soft curved lines and demonstrates the work of nature without making a hierarchy in space. Animals housing is attractive for me because they make an architecture which connects earth and sky with curved surfaces without making hierarchy of height in contrast with what human does.

Wooden

mass

This art work was created inside jungles of Arbe-kalle and it is made with a mass of wood sticks. it is inspired from spider web and makes a floating surface on the jungle land located on top of a hill and close to a pathway.

A Temple on the

river bed

A temple of stone was made below a tree on river bed of Tochal moun- tain Area in north of Tehran. It is made with stones and filled with soil. There is a boundary made with thin spars in a groove around cubic stones. The grooves is a metaphor to a ditch which was dig around old Iranian cities. Some spars and leafs of broken trees around by were collected and installed on top of artwork with its shining green color.

Partisan

castle

The remains of an ancient fortress utilized for military defend during Par- thian era and it is now left over in dessert of Raga. Its base is higher than desert ground level to increase security for resi- dents during possible attacks from outside. There are excavation holes every where on the hill and broken pieces of patterned pots. It is as if the contents of the pottery was donated to the gods of heaven.

In the view of Heidegger, the pot connects the earth and the sky, because the gift and blessedness of the pot can be mortal and part of their lives in relation to the gods whose resonance is back to heaven. He states that in The blessings of the mortals and the gods are flowing, each of them on the path to their own. Heidger felt that the earth (the soil), the heavens, the mortals and the gods formed the main conditions of being and the universe, and he called these conditions quadruple. The enclosed cube is an asset to the nature of this castle.

Paul Hirst in the book of “Space and Power ; politics, War and Architec- ture”. States that Architecture Policies places space in the configuration of power in such a way that space becomes a source of power. It claims that space is the source of power; Therefore, architecture space should be investigated in two- dimensional space-power systems.

Power builds up within the framework of space and is reflected in architecture. inside the old and ancient buildings which is turned to histori- cal site, the imposed power is taken out , and another kind of original power replaces previous power. This power is the sedimentation of matter but not solidified and can absorb new ideas to make new ideas and applications .

On august 17th I installed a wooden cubic temple on top of an old An old Parthian war fortress. An afghan worker and my driver, helped me to move the wooden box on top of the castle which looked like a hill of clay e. The castle is located in” dashte talayie ray” which means golden

plain

of

Raga.

Raga was one of most important cities of Iran in Parthian reign.

It had

many wheat farms and a flourished farming in

past

.

overconsumption of underground water reservoir resulted in

deserti-

fication of this area , all the water extracted from the wells is sent

to an

industrial city.

Castle has many holes caused by illegal digging , while leftovers of broken pots on the ground with colored patterns makes question about the conservation of this place.

Castle is close to airport and in my second visit ,guards told me that this castle used to be a place for production of sword . based on my study in old Parthian constructions, it was a partisan castle.

At that time in vast plains of raga (today named Ray ) Army could easily go out of castle , make a quick attack and return back. Because of water crisis the old city is barren now but 10 years a go some people used to live there.

AMIN SHOJAEI

AMIN SHOJAEI 101

Lost City of Ghale

no

This city is named Ghaleno and means new

fortress.

city was chosen to make some photography from installation and architecture of steel blade for wars. Pots of gold and some swords were stolen from this place according to what guard said.

This barren fortress has no sign or identity and its under control of security authorities.

Bio Power

This body of artwork is made with recycled materials filled with dried leafs and , layer of cow pad and feathers. Feathers were found on a road close to the installation .feathers show respect to death and connects land to skies. The cow pad acts as a catalyst to speed up the process of decay and return to soil for this bio space.it has enough nutrition to be- come a compostable medium and a growth medium for seeds, worms, micro and macro organisms .The outside of structure is a layer of natural gum,hay , cotton and soil .the space is limited by bio power which is a house for both death and life .Feathers are a symbol of skies and worms inside the artwork connect it to underground .

This dead body is a gift to nature and it will be alive after staying in an alive atmosphere. This artwork were created in a rigid death place and were transferred to a real ecosystem. It has its own structure which will be dissolved in a bigger natural structure.

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Artworks made from bacterial bio material and banana pill .

Organized by PAADMAAN projects

June 2020 3platform

We live in a realm whose physical aspect we generally name “nature”. As one of the creations that possess

the power of thought, humans constantly need to “observe” their surroundings and define their relations

and interactions with it throughout time so as to maintain their existence. This interpretation from the

nature has changed, from ancient times until the present day, for various reasons, one of which is the level

of the superiority of each over the other. The concept of “change” is also linked to “matter” and its

utilization in this system. With these keywords in mind and considering the issue of change from different

aspects, the continuous relationship between humans and environment can be engages in a constant

confrontation. Hence, striving to observe and revise the relations that can help improve the Life appears to

be a necessity. Defining what a better life truly means is itself a question that can be answered throughout

this process. Amin Shojaei’s current project is an example of such efforts and studies with regard to

nature.

Foad Alijani

Spring 2020

This exhibition, consisting of collages and arrangements of biomaterials, strives to form biological bonds

between humans and their surroundings. The artist's observations with regard to fungal and bacterial

biomaterials and composite layers are exhibited with a design approach and in the form of installations.

Design through alignment of surfaces and lines, from prototyping in laboratories to drawing a leaf, provide

us with the opportunity to observe and draw up new applications for materials so that we can

create changes in the system of consuming these materials when environmental crises arise.

Apart from representational and grotesque approaches toward environmental disasters, how else can we

look at the biological layer? This biological fabric is an interwoven network which links an array of materials

and thoughts; however, humans have destroyed its biological essence by dismantling parts of this mesh.

How can the artist mend this torn mesh and reactivate the biological layers? In this project, the relationship

between framework and surroundings and the way poetics can lead to action and interaction have been

considered.

Amin Shojaei

Spring 2020

This installation is a part of show which is screened on walls and roof of the space and it can

give a layer of meaning to space via sticking different parts of the space architecture together

with the glue of light while the camera moves along the forest of “Kelardasht” and turns

upside down ,making the sense of suspension between earth and space.

Installation designed based on surface of oceanic cliffs , made with 3d printed PLA panels and galvanized steel

Oceanic cliffs were 3d scanned and printed to model a surface of cliffs in scaled size. Above left model is a smaller model for

previous page installation , the printing material is PLA which is a starch based bio plastic .

Idea of this installation started with observing oceanic crust cliffs in Biarritz and how the life layers along with

rocks surface creatures and vegetation such as moss ,lichens and calms makes an active life layer which is in

direct contact with environment and should be seen as a multilayer living ecosystem. The bed rocks of Biarritz

are formed mainly from the calcareous shell remains of microscopic marine organisms such as foraminifers, or

the calcareous remains from numerous types of marine algae. "Living cliffs" are those on a coast that is still

active, i.e. that is being eroded and is receding. A "dead cliff", by contrast, is only reached by very high marine

waves and is therefore subjected to very little change. This living cliff was scanned and has different layers

which are interacting with each other and the environment .

A sample of oceanic stone shown in the exhibition which is origin of my idea for the oceanic cliffs surfaces ,

the idea of this structure comes from the Iranian "Ab anbar " which is a roofed underground water cistern and

its an architecture heritage of Iran .the fungal mycelium changes the structure during the exhibition while grows

all along the surface of the structure and turning it white like the surface of moon .Ab anbar was traditional

drinking water reservoir from several thousand years ago and there are some myths about monsters living in this

place who seduces children named “dadamelakow” , oldest Ab anbar was made in ure city 2150 BC .

Bio composites made from bacterial cellulose made from different hydrocarbon resources were shown in this

exhibition and this material is a substitude of animal leather and has much less co2 footprint on nature .Here the

static fermentation process is shown in a closed glass box and bacterial layer is growing on top of the box during

the exhibition. The bacterial used in my research is from the family of “acetobacter xyllinum” and different fruit

based hydrocarbons were used with different qualities and different colors .

Different bio composites were made to experience the different qualities of fungal bio –material for different

uses and reach to best formula for production of packing material , insulation and a soft material for design

application .

Detail of a bio-composite art piece made from pineapple leaves .

Bee wax- and natural paint on mycelium composite , Mushrooms appeared around the artwork

Untitled – mix materials ,natural paints , bee wax , sand on mycelium panel made from fungal bio material 65*65 cm

Detail of art work with mushrooms appeared on top

Untitled – mix materials ,natural paints , bee wax , sand on mycelium panel made from fungal bio material 65*65 cm

Untitled – mix materials ,natural paints , bee wax ,

sand on mycelium panel made from fungal bio material 60*60 cm

Amin Shojaei-Portfolio (1) · 2 days ago · Amin Shojaei CV Visual Artist Born 1986 Tehran , Iran...

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