The second solo exhibition of Iranian artist Ramtin Zad, titled Resurrection, opened at Gallery Etemad in Dubai on April 30th.
Armed with an artistic style very typical of Iranian art – in the use of bold color and his thick brush-stroked detailing – Zad is now an established 28-year-old painter and sculptor. Preferring to call himself a figurative artist, he has been actively exhibiting his work since 2006 in Tehran, Dubai, Basel, Kuwait, London and New York.
His recent exhibition is a collection of selected new paintings and sculptures, revolving around the focal theme of resurrection. The artist adapted the religious reference to the natural cycle of events in nature, demonstrating the ever-repetitive process of constant decay and revival.
While the subject matter of creation and destruction remains a defining and inseparable law of the very nature of resurrection, they remain a recurrent premise for the artist’s inspiration during the production of the artworks. The resulting mood of the collection further accentuates the truth of nature’s beauty in its constant flux of death and rebirth.
Zad works on small and large-scale paintings and also creates monumental decorative vases that take their inspiration from Persian literature and folklore.
Incorporating a surreal sense of fantasy, and both historical and contemporary symbolism in his work through nature, animals and humans, he renders the subjects he paints a quality of timelessness.
His sculpture titled Kabuki is a cultural narrative inspired from the Kabuki dance-theatrical movement of Japan that largely drew upon the social fabric of the Japanese and now re-told from an Iranian perspective.
“There are a number of symbols within a genre that refer to the routine of human life. From battle scenes, dances, creatures to myths. They are all associated with and speak of our social issues,” Zad said.
Jungle, another one of his exhibited acrylic paintings is a crying explosion of flowers, trees, foliage and skies – a stressful attempt at capturing the essence of the wild.
Zad claims to find nature his closest muse. He believes the element of wilderness is a deeply ingrained feature of natural beauty that he finds both formalistic and erotic, further intending to produce a quality of hallucination in his work.
“Through my paintings, I give my observers the opportunity to enter the labyrinth of my mind. Although the subjects and colors I apply are visually pleasant and eye-catching, they are wild and figuratively tough. I want my observers to relate with my concerns,” he added.
Zad said that just as his artistic process is not a journey of landing at a destination but rather that of revelation, rightly so his plans for future works are unsettled, although he remains intent on becoming the most influential artist in the region.
The exhibition will run until May 24, 2012 at Etemed Gallery, Serkal Avenue, Al Quoz — Dubai.
For more information, visit: http://galleryetemad.com/
Ramtin Zad: Art naturally
Ramtin Zad: Art naturally
‘The Wild Within’ sees artists breathe new life into Mideast buildings
DUBAI: Lens-based artist Ryan Koopmans and digital artist Alice Wexell are staging a showcase at Dubai’s Leila Heller Gallery that breathes new life into regional buildings.
The series of digital artworks is part of the exhibition “The Wild Within,” featuring images of old structures in Beirut, Istanbul, and Abu Dhabi filled with wild flowers.
Two of the largest works, “Heartbeats” and “The Wish,” are displayed using Ventana, a microLED architectural display surface created by visual technology company Megapixel.
The former artwork depicts the entrance hall of Qasr Al-Watan, the UAE’s presidential palace in Abu Dhabi, while the latter reimagines the upper floors of the Emirates Palace Mandarin Oriental in Abu Dhabi.
“Each building we work with comes to us through a combination of research, travel, and intuition,” the artists told Arab News in a joint statement.
“We are drawn to structures that carry both emotional and historical resonance, often buildings that once embodied human ambition and now exist in a state of quiet transformation.”
Koopans and Wexell made sure to research the context of each building they choose to recreate, saying “an old villa in Jeddah or a former school in Sharjah each hold their own cultural memory, influencing everything from the lighting and atmosphere to the plants and flowers that we digitally sculpt and implement into the photographs.”
The hypnotic works depict the interior of buildings in the region, with digitally rendered flowers carpeting the floor in a bid to “(reimage) these spaces (and) explore the relationship between nature, place, and time, while celebrating each site as a unique work of architecture with its own spirit and story,” the artists said.
Koopmans is of dual Canadian and Dutch heritage, while Wexell is Swedish and based in Stockholm, so it is noteworthy that both artists chose to explore the Middle East for their latest project.
“In the Middle East especially, the architecture reflects a layered past that merges different styles and eras, while also expressing a sense of renewal and forward-looking energy, particularly in the region’s fantastic contemporary buildings. We are drawn to the symmetry, geometry and patterns that are found not only in nature itself, but in the architectural language of the region both past and present,” they said.
The series — featuring works such as “Adore You,” “Between Worlds,” and “Blossom of the Ancestors” — explores contrasts between the natural world and human-made forms, as well as the traditional and contemporary worlds.
“We are interested in how these elements coexist and merge into one another, creating a sense of hyperrealism that feels both familiar and imaginary. By merging photography with digital sculpture, the artworks question where the boundary lies between documentation and invention, and how technology can extend rather than replace our sense of the natural world.”
Although the scale of the artworks ensures they leave the viewer entranced, it did pose challenges, according to the artists.
“Presented at a large scale, every texture in these artworks becomes visible, which can be demanding but is also incredibly rewarding. The magnified detail allows the visceral and atmospheric layers of the pieces to come through with greater impact,” they said, adding that each piece took “many months” to create.
“Ultimately, we want our collectors to experience a sense of wonder and contemplation, as if they are standing inside a dream that feels both entirely real yet unreal.”
The exhibition runs until Jan. 15, 2026.
