Flowers nonexistent in nature, vegetal flourishes hovering above dead waters, fantastic landscapes scattered oddly and incongruously with familiar or imaginary objects from within which, as in a fleeting dream, a ruin or a monster from Persepolis occasionally emerges.
I think I am among a few of those who don’t fear of being lost in the intricate halls in which numerous painters are hopefully looking for “Miniature”. The painter, knowingly or unknowingly, always paints his own portrait; for “figures of life” have nothing to do with “life of figures”. And this “life of figures” is developed other than portraying.
Iran Darroudi’s paintings have remained faithful to the bright light of Iran; a light rooted at once in geography, owing to the sharp angle at which sunlight shines on this land, in culture, reflecting the lofty thoughts of our great mystic scholars, and in history, mirroring the inner light of the collective life of the peoples living on this plateau.
Yet, notwithstanding these visual similarities, deep mental differences separate them from Western Surrealistic paintings, because Iran Darroudi’s paintings are rooted in an Oriental mysticism whose enigmatic silence pervades all the constituent elements of her works; a silence that assimilates everything in a poetic crystallization of time and light.
Painters before you
Created many deer through a mixture of leaves
And a flock of sheep in a mountainside
With a shepherd hidden in the vagaries of clouds
On the mountaintop.
Or in a full and simple manner they portrayed a hunger, stricken reindeer suffering in a colorful and smoggy forest.