Hiva Alizadeh / Galleria The Flat - Massimo Carasi

Born in 1989 in Kerman, Iran. He lives and works in Tehran, Iran and London (GB).

The work of Hiva Alizadeh has its roots in the Persian tradition and in the millenary ability to weave Kerman's rugs, although applying its technique and knowledge to a different material, creating a contemporary interpretation of traditional textures, adding a cosmopolitan and mental touch. The intertwined tapestries of Alizadeh are created using synthetic hair extensions that composes in bright neon color palettes.
Hiva Alizadeh "paints" color landscapes, creating sections of space that capture the essence of our global era, starting from the nomadic culture innate in the seductive aesthetic attractive of the Iranian rugs. Descending inspiration from the millennial tradition of weaving of the nation, by the enchanting morphology of the Iranian landscape and by the texture of the tiles, from the songs, from the sounds, the costumes and traditions of the oriental mosques, the self -taught Kurdish artist and former documentary uses use nylon hair to embody the complex interpeestration of the oriental and western cultural mechanisms.


In Middle Eastern culture, the stories were also told in the plots of the rugs: in these are represented symbols of ancient origin that express concepts related to the history, religions and culture of the Eastern peoples. The carpet is the bearer of a precise message, like an authoritative book. The narratives of the origins of the world, of Giardini dell'Eden took shape through an alphabet of symbols called "reasons".
 Hiva Alizadeh presents in these works the reworkings in a contemporary key of Persian reasons, using bright hair of synthetic hair applied to shaped wooden structures.


The works of Hiva Alizadeh, so similar to landscapes with natural colors, have a form of "lines -room realism" through the choice of synthetic fibers, which delimit and qualify an indeterminate space with a new interpretation of the "impressionist" pictorial matrix, full of evocative perceptual subjectivity. They are "rugs" saturated with light sensations, rugs that harness the breath of the wind in which the distance between tradition and contemporaneity is banned, while in the apparent awareness of the rent, in the chromatic sensation, between one hair and the other - as in a film - the plot of a multitude of moments flows, fragments of life linked to each other to give the time an own rhythm. In the luminous tones of the artist's hair waterfalls, the material becomes the dynamic protagonist of visual seduction, a pictorial space that opens and expands, expanding in the dazzling light that emanates from the colors. Natural and artificial, matter and light, rhythm and digression between painting and sculpture materialize imperceptible depths in works of a lyrical and poetic abstraction.

Composed of a vivid tonal range enclosed in formal solutions, the artist's colored pop-povera rugs are made not only to be looked at, but also to be touched and combed.

The series of "tapestries" in brightly colored synthetic hair has expressive codes related to the pixelated language of digital culture with the visual and tactile attraction of fiber, dyes and techniques that evoke travel beyond time and space.


"It is as if my works constantly called you to touch them, caress them or brush them, as if they were telling you to take care of them"