Hossein Maher
Introduction By Mahmoud Dowlatabadi

What in the works of Mohammad-Hossein Maher has always impressed me is the way he makes use of color. Vivid oranges and tasteful reds sit next to tranquil shades of green and blue. These are colors that in the abstraction of abstract portraits of human beings acquire a redoubled intensity. They make us stand before […]

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New-Feathered Flight By Aydin Aghdashloo

Masks of Hossein Maher constitute a genuine shift towards a lucid language which no doubt had its seeds in the inquisitive mind, vision, and experience of the painter, formed over the years and now reaching new planes and fathoming new depths. In many of these works we are witness to a clear revolution in subject-matter […]

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A Requiem for a Befallen Calamity By Samila Amir-Ebrahimi

Shock, that’s the name Hossein Maher chose for his fish series, which was first shown in the winter of 2009 at Etemad Art Gallery in Tehran. The collection included 21 large paintings of mutilated fish flesh. Aptly titled, paintings in Shock were amongst the most lurid and expressive in Mr. Maher’s oeuvre. What do these […]

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The Vast Space within Painting By Dr. Simone Wille

Hossein Maher’s work is imbued with a desire to unravel the many pasts that inhabit his country. He thus draws on a variety of mythological and historical images to situate imbricated histories together with his personal memories of the many places that he has visited and experienced. In his most recent works “Monuments” and “Legends” […]

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The Mythopoeia of Hossein Maher By Kaveh Najmabadi

“Archetypes, in spite of their conservative nature, are not static but in a continuous dramatic flux. Thus the self as a monad or continuous unit would be dead. But it lives inasmuch as it splits and unites again. There is no energy without opposites!” – Carl Gustav Jung It is through myths that the ancients […]

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Through the Bird’s Eye By Jinoos Taghizadeh

Hossein Maher has showed his penchant for travel in many of his collections. His is an inquisitive drive that manifested itself in the abstract while being closely personal. In Monuments, however, the much traveled artist is standing at a distance, beholding the struggles of a people to find scattered pieces of memory among historic remains. […]

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