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Afshin Naghouni

Afshin Naghouni

Biography

Extent of art knowledge : 
'Artists are often asked to describe their work, I personally would not like to do that. The results of my work depend upon the feeling I have at that time, and feelings can sometimes be short lived. I believe that people have different ways of looking at an artwork, with their own feelings and thoughts. So the feeling that you get when viewing my work, should be entirely yours, without any words from me.'
Describe the extent of your talent as an artist: 
"Most of what we deem as real is an enhanced version, undergone serious plastic surgery and we are bombarded by this reality on daily basis. Repeat something enough times and it becomes your reality. Attack on each other's cultural differences takes the place of understanding and celebrating them, fear of the ''Other'' becomes the norm, war becomes necessary and status quo, while peace remains an occasional treat, occupation becomes liberation, torture and murder becomes justifiable. Muslim women are oppressed and exploited while western women are liberated? And vice versa? We become what we wear and what we wear becomes even more important than the person who wears them. The person, the individual as well as the reality all dissolve in the veneer. I thrive on continually reminding my viewer that there is a darker more sinister concept embedded within images which at first glance seem visually pleasing, harmless paintings and challenge them to discern what, if anything is real."
When did you first describe yourself as an artist?: 
Considered a child prodigy, Ash won a number of regional and national painting competitions between the ages of 9 and 12 and has not stopped painting since.
Formal Training: 
Post Graduate, London Metropolitan University, Sir John Cass Department of Art Media and Design
Role of figurative art: 
"Afshin (Ash) Naghouni works big in a larger-than-life way, zooming-in close-up to produce a super-sized canvas in a neo-figurative style that captures the appeal of intimate moments in a woman's life. Naghouni teases you in his canvas 'dolly-shot' whilst, simultaneously, considers the controversialists view of whether it is that Muslim women are oppressed and exploited while western women are liberated, or vice versa?" Estelle Lovatt, Art of England, December 2011
Other contacts: 

Selected Exhibitions 

  • 2011: Kensington Royal College of Art, London, Art for Youth.
  • 2010: Kensington Royal College of Art, London, Art for Youth.
  • 2002: ZCMI Center, Salt Lake City, Utah.
  • 2002: Nikombashi Mitsokushi, Tokyo.
  • 2001: St Raphael Gallery, London.
  • 2001: London and Brunei Gallery, London.
  • 2000 to 2009: The Mall Gallery, London.
  • 1999: Bexley, Kent, England.
  • 1997: Afran Gallery, Teheran, Iran.