Mona JanMohamadi

Born in Tehran, Iran

Lives and works in Tehran, Iran

EDUCATION

2019-Present    MA Painting, Sooreh Art University, Tehran, Iran

2005-2009         BA Painting, Azad University of Art and Architecture, Tehran, Iran

 SOLO EXHIBITIONS

2019                  Painting, 009821 Gallery, Tehran, Iran

2016                  Painting, Homa Gallery, Tehran, Iran

2011                  Painting, Homa Gallery, Tehran, Iran

GROUP EXHIBITIONS

2020                 Photogenic, Soo Contemporary, Tehran, Iran

                         Shabtab(7), Azad Art Gallery, Tehran, Iran

2019                 Faces, Homa Gallery, Tehran, Iran

2018                 Summer Collection, Homa Gallery, Tehran, Iran

2017                 Drawings & Paintings, DD Museum, Izadshahr, Iran

2016                 Art for Autism, Niavaran Cultural Complex, Tehran, Iran

                         The 19^th annual montakhabe-e Nasl-e No, Shirin Art Gallery, Tehran, Iran

2015                 Drawing week, Homa Gallery, Tehran, Iran

2014                 Zoo, Shirin Art Gallery, Tehran, Iran

2013                 Drawing, Mohsen Gallery, Tehran, Iran

                         Drawing week1, Homa Gallery, Tehran, Iran

                         Oxygen, Iranian Artists Forum, Tehran, Iran

2012                 Turemina, Khorshid Gallery, Lavasan, Iran

                         Drawing, Laleh Art Gallery, Tehran

                         The First Painting & Sculpture Annual Exhibition, Iranian Artists Forum,Tehran

                          Painting Exhibition, Siin Art Gallery, Tehran

2011                  Drawing Exhibition, Parking Gallery, Tehran

                          Drawing Exhibition, Azad Art Gallery, Tehran

                          13*18”, Etemad Art Gallery, Tehran

2010                  Painting Exhibition, Mahe Mehr Gallery, Tehran

2009                  Drawing Exhibition, Mohsen Gallery, Tehran, Iran

                          Painting Exhibition, Homa Art Gallery, Tehran, Iran

2008                  Painting Exhibition, Homa Art Gallery, Tehran

                          Painting Exhibition, Sondouzi Museum, Tehran

                          Painting Exhibition, Anahita Art Gallery, Tehran

PUBLICATIONS

2019                Shahrouz, Nazari, Represent Absolute Development, (Iran: Tabl Research

and Experiment, 2019)

REVIEWS

A Window to be Seen Through

Arman Khalatbari

Self-portraits are one of the most intense forms of exchange between artists and viewers. An adversarial dispute, empty of trust, in which an image that is presented as undeniably true is disputed by the viewer who attempts to discover something within its hidden layers. Among all forms of media, photography is where this challenge happens more than most. This medium, even in its least factual form has a pretense of honesty and truth, any form of deformation brings about a suspicion of a fake narrative. All these elements lead to a complex and interesting relationship in which the artist knowingly hides her ideas and intentions under layers in the work, so that the viewer who succeeds in deciphering these references, interprets them as a discovered truth beyond the artist’s intentions. Something similar to a voyeuristic game in which both sides are aware of the other’s presence, but each tries to control the relationship to their benefit. Mona JanMohamadi’s latest series, “Instant Photos and Absolute Development” is expressive of such a condition. This series is composed of Polaroid photos and painting techniques used to contradict the factual quality of the picture and to present a mental narrative of the artist, who before this also used collages to present narratives. The difference between this series and her previous works is their setting and focus on the identity of the artist herself. This is a deliberate choice that is developed further in its relationship with the viewer. The images are taken in a personal setting, without fear of the “other’s” gaze, and then purposefully mixed with other media. What is more important here than the artist’s technical expertise or narrative, is her selection of a particular type of photography and her interactions with it. Because of their nostalgic quality and the uniqueness of each image, Polaroids are often viewed as precious, yet readily available items. From the time of its invention until now (the age of digital cameras), Polaroids have had a unique, particular characteristic. The fact that Polaroids don’t require a third party to print, and the fact that no negative or digital file remains of the taken photo, gives one the sense of security to freely record the most intimate moments. The printed photo is all that remains and its destruction erases the entire episode. By taking advantage of these qualities, JanMohamadi forces the viewer to interact with her created work. The small size of the works and the layers of color that cover them, on the one hand, create a personal narrated setting, and on the other hand force the viewer to focus on the pictures from a closer distance, and thus subconsciously interact with them on a different level trying to seek something behind the layers of paint. The use of a woman as subject matter increases this sense of curiosity and activates the imagination. This relationship is increased through the white border of the Polaroids and the vagueness of the recorded setting as if the viewer is looking through a window frame at a private world. The glass over the picture acts as a boundary between viewers and the work, underlining their distance; while the reflection of the viewer on the glass emphasizes the voyeuristic aspect of this experience. In this sense, the artist’s photographs invite the viewer to observe the unseen. The artist has predetermined what is present and what is hidden in these images, and a discovery of the unseen is merely a delusion to affect the viewer. This maneuver is a common occurrence in contemporary Iranian art and also has roots in history: a language of references and innuendo to move beyond limitations. Mona JanMohamadi’s paintings/photographs are the most successful in their technical expression to date. By continuing on this path she will undoubtedly be able to create a more personal language.

Mona in Wonderland

Ali Bakhtiari

Mona’s paintings add an otherworldly layer to her straightforward, factual Polaroids. The final work, composed of photographs and paintings, gives these images a new identity. It is as if the final images are mysterious, fantastical settings, drawn from the artist’s daily life. The importance of these images is the contrast between the fantasies they depict and the factual quality of their original medium (photographs). Using multiple layers to create a placeless, timeless setting, a woman is depicted floating in space, reimagining popular stories (The Turtle and the Ducks), films (woman–rabbit – Inland Empire), and typical characteristics of femaleness (bridal gowns, hanging out with friends). The multiple-dimensionality of the images creates singular or plural narratives within them that are worthy of consideration.