Space of Laft is textual, discoverable, non-perspective and its architecture is non-objective. A natural logic generates the fragments and the hole, relates them to each other and to the natural context.
Natural-type variety of Laft, with its monotone materiality and rhythm of the wind catchers, creates a united image which makes it perceptible in a unique wall.
I am not sure if it had been intentional or intuitive, but the artist has been successful in well representing Laft as I described.
Moreover, the authenticity, cultural value, documentary approach and the simplicity of her depictions, give it more value for evaluating.
Mohammad Mohammadzadeh, Architect
The artist’s point of view, keeps Laft yet being remembered.
Being an architect and at the same time, a painter is a unique opportunity which depicts in the artist’s works.
She refers to Persian FIat tradition of representation and keeps herself away from Europeantradition ofperspective view representation.
Houses in her depictions have got sunburned colors and smell of the gulf sea.
It seems that the artist’s world will continue living somewhere in between Laft and her paintings in the future, and creates new visions for her.
Mohammadreza Ghorbani, Painter
The main motivation for finding a concreteoriginalsubject to create my work,was challengingmy confusing status in the border of the two different worlds, I mean art and Architecture, as well as the shortage of real sources helping me through doubtful moments.
I spent less than a decade of my life in the south of Iran and got familiar and interested in its people, nature, Culture, Architecture and art.
I traveled to Laft in 2010 to explore the beauty and history behind it when I was a senior Architecture student.
Three years ago, something led my mind to the Laft beach again, conquered my mind, and I turned it into pictures.
Moreover, my enthusiasm for experiencing the conventional methods of Persianrepresentation, ended up with the present depictions.
Sarvenaz Emtiazi, Painter/Architect