She reflects on the profound impact of the Women’s Life Freedom Movement in Iran on her artistic expression as well as on PePe, her cat, who became an integral part of her adventures, meandering through her paintings.
How are your previous studies in philosophy influencing and affecting your art practice?
It’s hard to say. Before I studied philosophy, I mainly painted things. Nature, flowers. I thought a painting just had to be beautiful. After studying philosophy, I developed more of my current style. But maybe it would have happened the same way—without studying philosophy.
Is there such a thing as censorship when you are painting human bodies?
No! As far as I know, there can be unconscious censorship. But when I trace it, I try to remove the censorship, both in life and in my paintings. I try to expose everything possible.
How are you developing motives for your paintings?
For larger works, I usually start with a sketch based on the idea and conceptual framework I have in mind for the whole series of my work. I then continue to refine and work with the sketch, the embodiment of the drawing in my hand. However, when it comes to smaller paintings, I often have a loose concept or idea in mind and begin directly on the canvas. In these smaller pieces, many elements remain undefined in advance, akin to a dynamic exchange, a dialogue between myself and the canvas, the colors, and the movement of my body and hands. It’s like a playful dance where spontaneity and exploration take precedence, much like a vibrant improvisational performance. This process allows for a more intuitive and organic unfolding of the artwork, where each stroke and interaction contributes to the evolution of the piece, reflecting a symbiotic relationship between the artist and the canvas.
The formats of your works are variable when a decision on the format of the canvas is made, and does it play a role in the final set-up in the exhibition space?
I typically align the dimensions of my artwork with the subject matter and composition of the paintings. However, when there’s a large space designated for displaying my pieces, I certainly take that into account.
Some of your painted figures are dressed, and some are not. How important are the clothes, costumes, or fashion?
When painting my characters, I find dressing them to be a personal challenge. I aim to ensure that their attire suits their personality and appearance. I do not pre-determine these details but rather proceed with a sketch and a general outline. As I paint, I pay attention to specific aspects and consider the character’s clothing needs. Sometimes, I even gift them a piece of fabric based on what they want from me.
I ask the person: What do you like to wear, or do you like to be naked? She then gave me an answer.
In religious culture and in the place I come from, the female body is usually regarded as a sensitive and sinful matter. In this culture, the female body is completely forbidden, and efforts are made for women to either ignore it or deem it sacred. I decline to challenge any form of this idolization.
Do you recognize yourself and your surroundings in the pictures?
In my paintings, my presence is always prominently recognizable. Often, my persona is positioned at the center of the images, serving as a focal point of identification. In these works, I typically depict my inner state and the image I hold of myself. These paintings serve not only as personal confessions but also as profound expressions of my existence and inner realities.
At times, I draw inspiration from the inner states of others and portray them in my paintings. This act is an attempt to achieve a deeper understanding of humanity and human connections. Through art, I aim to establish deeper emotional connections with others and share these inner experiences to foster more meaningful and reciprocal relationships among individuals.
You were doing an art residency at the Moosey Gallery in London. How did this come about? How did Moosey become aware of you?
I got acquainted with Moosey through Instagram. Previously, I had a group exhibition with him, and the following year, I received a residency and solo exhibition offer from him. I thought it would be great for both of these to happen simultaneously.
Tell us about your time during the residency. Who were your contacts at the gallery? What did you particularly enjoy?
I spent a month in Norwich, which is about an hour away from London. This city is beautiful, and its people are very kind. This experience was interesting for me because I was with two other artists named Annemari Vardanyan and Qin Tan during this residency. I have been working alone in my studio for years, with very little time spent alongside another painter in the studio. However, during this period, I felt like we were in a music band, each of us playing our instrument through painting. There was an interesting harmony between Annemari and Qin, although our works were different. The music playing in the studio was enjoyable. I liked how absorbed the others were in their work, which also motivated me. We also exchanged a lot of ideas and talked about our work together.
There was also a dartboard and a table tennis table in our studio; we played there a lot. I don’t know why, but I think they are two important sports for artists. I noticed that there is a table tennis table or a dartboard in many rooms—maybe because you have to focus and concentrate.
How did you spend your days? Can you describe the studio where you worked?
I have been continuing my work in my studio in Vienna for years, but a change in environment and starting work in new spaces with unfamiliar people have taken me away from my familiar and safe space and enabled me to gain valuable things. We had a very large house, and opposite our house was the studio house. We spent all our time in that space, day and night, which was very enjoyable for us. On the last day of the residency, we held an open studio event, which was met with a warm reception.
Where did you buy your painting materials?
Close to our residence, there was an art store where we would purchase some of our supplies. At the Moosey Residency, we were provided with canvases and stretcher bars.
Tell us about the main protagonist of the poetic narrative in the exhibition ‚8‘ that happened at Moosey Gallery.
The main theme of my stories is myself. In this exhibition, I have depicted my life’s journey and shown how I have broken the number eight and stepped out of its repetitive cycle. All the characters in the stories represent my understanding of myself. This departure may signify showing the repetitive pattern differently. There were decades of oppression in Iran. Women had to wear a veil. And that was a daily routine that was repeated every day. And almost suddenly, the old, everyday life exploded. And now, hopefully, a new, better everyday life is establishing itself. For me, 8 means repetition. Infinity. But an infinity only lasts until it is replaced by a new infinity. Many things seem to last forever. But sometimes the circle is replaced by a new circle.
What were the most beautiful moments for you at the opening?
The best thing was how well the paintings were received. I’ve never received so many compliments on my work. Before that, I was in my studio almost every day for seven months, painting for eight hours. And I had no idea whether people would think it was good or crap.
How do you generally feel before openings?
I don’t like being the center of attention. In art, you show a very personal part of yourself. And people judge, look at, and criticize. It’s as if my emotions are on display naked in a shop window.
Can you tell us more about how your everyday experiences and interactions with friends inspire your work?
Everyday experiences and interactions with friends can inspire my work. Observing the emotions, movements, and expressions of those around me helps me capture the essence of human experience in my art. Additionally, I find my cat’s energy and gaze to be among the most inspiring things in my daily life.
You changed your colors; you started using darker tones. How did that come about, and when was it?
Last year, at the end of 2022, due to the situation in Iran, which also affected my life and shocked me, my work has also become darker and more profound, with even more layers. The Women’s Life Freedom Movement in Iran was a trigger. I simply felt better when I used darker colors. I’ve also been to Iran a few times, and the memories of situations on the street at night have stayed with me the most. I enjoyed the night more than the day. I still have this feeling; I love to stay up at night, think, and paint. When I painted at night and thought about the situation in Iran, it was very emotional for me. That’s why I use darker colors now. The change in color tones was not conscious; it came with the situation. I see myself in a process that I am still in.
Here is my work. This is the first work at the end of 2022 that I did at night. I am drowning myself, and my cat, PePe, is watching. I wanted to get rid of my emotions and thoughts and immerse myself in a new life. After this work, all my works were created at night.
How are you feeling about the situation now?
I feel like I’ve reached a new level and have also managed to find some distance. I can deal with my emotions better and also reflect on my thoughts about the past. I have grown.
What are your next plans?
My upcoming group exhibition will be featured in the Unapologetic Woman showcase, curated by Destinee Ross-Sutton, NY, at the Venice Biennale Palazzo Bembo from April 20th to November 24th, 2024. Then, there will be another group show where I will present my work alongside the other three Vienna-based female artists—Arang Choi, Yuma Radne, and Eva Jurková—at the Future Fair in New York, scheduled for May 2024.
What kind of music are you listening to in the studio?
At the moment, I often listen to new albums by Thom Yorke & The Smile, Sigur Ros, Gary Moore, and sometimes Shajarian-Iranian traditional music, sometimes cigarettes after sex!
Reihaneh Hosseini – www.reihanehhosseini.com, www.instagram.com/rey_reihaneh/
Reihaneh Hosseini Born in 1988 in Tehran, Iran, lives and works in Vienna. Born and raised in Tehran, Hosseini studied philosophy before emigrating to Vienna in 2014, where she currently resides. Trained under Austrian abstract artists including Christian Schwarzwald and Gunter Damisch, Reihaneh soon returned to figurative painting, her favored style for reflecting on the world that surrounds her.
Moosey is a contemporary art gallery with three UK premises, in London and Norwich. Each gallery holds separate monthly solo and group exhibitions by emerging artists from all over the world. Being inclusive and finding exciting new work is Moosey’s strength, to bring lesser-known artists, often at the beginning of their careers, to the forefront. Outside of the gallery exhibitions, Moosey creates in-house screen prints via Moosey Editions along with a residency program in Norwich. www.mooseyart.co.uk
