Sleep — an escape or a silent surrender to chaos? Iranian artist Ebrahim Barfarazi questions, in his series ‘In the Land of Dreams’
Ebrahim Barfarazi, a visionary contemporary Iranian artist based in Tehran, captivates the art world with his bold and evocative figurative paintings. His work is a profound exploration of identity, memory, and the relentless march of time, capturing the very soul of human experience. With a striking use of colour and texture, Ebrahim’s art pulses with emotional depth, inviting viewers into a world where the human figure serves as a powerful vehicle to examine life’s most complex themes—the duality of nature, the shifting contours of identity, and the fluid boundaries between memory and reality.
Rooted in the rich traditions of Iranian art yet deeply attuned to contemporary sensibilities, Ebrahim’s style creates a seamless fusion of past and present. His art resonates globally, drawing attention to the timeless struggles of the human spirit.
Noteworthy solo exhibitions like Two Thousand and Some, held at IranShahr Gallery in Tehran in 2024, and Requiem for a Dream at the Iranian Artists Forum Winter Gallery, showcase his unyielding exploration of the human condition and the passage of time. With each brushstroke, Ebrahim invites us into a world where philosophy and emotion converge. His works continue to be celebrated by critics and collectors alike, solidifying his place as one of the most exciting and thought-provoking contemporary artists of our time. As Ebrahim showcases his latest work titled In the Land of Dreams in New Delhi, featuring 18 evocative canvases, we speak to the artist to understand how this series was developed and how it explores sleep as both a physical act and a metaphor for human consciousness amidst global turmoil.
Excerpts:
Your exhibition, In the Land of Dreams, explores sleep as both a physical act and a metaphor for consciousness. How did you come to view sleep as such a complex subject for artistic exploration?
All humans play roles and distance themselves from their reality when they are awake. It is only during sleep that the reality of each human being is revealed.
The theme of sleep in your work seems to carry deep philosophical weight. Do you believe sleep is an escape from the chaos of the world, or a surrender to it? How does your own perspective on this evolve through your art?
Contemporary man is involved in chaos, isolation, and loneliness, and this loneliness also manifests itself in dreams.
You’ve referred to sleep as a metaphor for human consciousness amidst global turmoil. Could you elaborate on how you feel global events, especially in times of uncertainty, influence the way we experience and understand sleep?
Look at the current political climate across the world, with people’s rights being impeached upon. We become so jaded seeing so much violence, so much media highlighting this, that sleep is the escape from this dark reality, where all humans are the same.
The exhibition contains 18 canvases, each deeply symbolic and introspective. How do you decide what symbolism to incorporate into each piece, and how does it relate to the larger narrative of your show?
There is a common narrative and a harmonious symbol in all the works, and that is sleep and loneliness. Only in one work, there are figures of two people. The presence of light, clean sleeping accessories, a double bed for one person, and old elements such as a blanket with a tiger pattern, etc. are all symbols of life, which has accompanied me to the present day, yet I am alone today.
Your works invite viewers to contemplate the fragility of perception. How do you think the way we perceive the world changes when we are asleep versus when we are awake?
We return to our reality in dreams, and this return to ourselves gives a pure and clear effect in our figurative expression. The audience is faced with a person who is his true self.
The metaphor of sleep in your paintings seems to have layers of meaning. Are there particular moments in history or personal experiences that inspired these pieces, especially in relation to global instability?
I have looked at many sleeping people and have also benefited from the sleep works of other artists. All show a subtle expression as well as a hidden reality.
Sleep often symbolises vulnerability, but in your work, there appears to be an underlying tension with chaos. How do you balance these opposing forces in your compositions?
It is true that humans are more vulnerable in sleep, but they are also more honest while sleeping. Perhaps a person who sleeps as usual every day thinks about his vulnerability while sleeping, but a person who is tired and has not slept for days and hours, does not think about his vulnerability at all while sleeping. I attempt to convey this across.
Considering the uncertainty in today’s world, do you see your work as a reflection of collective human anxiety? How do you hope the audience will interpret this?
Yes. When the audience is faced with women who are in a bed of sleep and, although the light bothers them, they do not feel like finishing that sleep, or those who are half asleep despite having tired eyes, I think they will understand my general view on this subject.
The interplay between rest and turmoil is a recurring theme in your work. Do you feel that sleep allows for a temporary respite, or does it become part of the larger struggle for peace in an unsettled world?
Sleep is rooted in human peace, and a human being reaches relative peace when he provides peace for the sleep of all the people on earth. A person may sleep in war and not be at peace. He may sleep on the side of the street, in the park, or anywhere else, but until he is provided with peace, he has not slept, but has only satisfied his body’s needs.
How has your perception of sleep and its symbolism evolved over your career? Do you think it’s a theme you’ll continue to explore, and if so, in what direction do you see it going in the future?
I consider myself a formalist painter and my encounter was first with form and then in time, I turned to content. My encounter with my friend who was sleeping and the light was bothering his eyes, started my journey, and this presence of light and shadow and their confrontation with each other shaped the beginning of this collection.
How did your artistic journey begin, and what were some of the key moments or influences that shaped your creative path?
Conversely, every artist is indebted to his past and his inputs always cause his outputs. Of course, I try my best to ensure that my figures do not belong to any geographical location, but ultimately I am an Iranian and my nationality has an impact on my painting.
Over the years, your work has evolved in complexity and depth. What have been some of the major turning points in your career that pushed you to develop your unique artistic voice?
I do not believe in personal art and how one can create personal art. Personality in art, like accent, like dialect, gradually takes root in every artist, and the artist is not very involved in its formation, but everything like geography, politics, society, etc. has influenced me.
Being established in the art world, how do you navigate the balance between staying true to your personal style while also responding to contemporary trends and global issues in your art?
Picasso says: The worst artist is the artist who copies another artist, and even worse is the artist who copies himself. Conversely, an artist should not be afraid of change, and whenever he eliminates change and playfulness in himself, his art is dead. But one must believe that in my artistic path, I have chosen techniques and language for expression, and in the end, I have an style, and that style will always be with me.
Looking back at your journey as an artist, what do you consider the most challenging and rewarding aspects of your career so far, and how have those experiences shaped the way you approach your work today?
I must point to the evolution of my mind in the path of art. When I started painting, I thought that working a lot makes a person an artist, and over time, I saw people who work a lot but did not become artists. Then I thought that talent is the saviour of the artist, and in time, I saw that there are many talented people who have not achieved anything. Later, I thought that a direct forward movement can make a person an artist, but I came across people who had this but did not become artists. Then I thought that a person becomes an artist with the look of the properties, but this was not the case either. To become an artist, we need a package of all these, and self-development is an unknown path, and for self-development, we must first know ourselves and make a move based on our individual needs, and we must know that the path of art is an endless and dark path.
Open to all.
On till 10 April, 10.30 am to 6 pm (Open Monday to Friday; visits on Saturday will be by appointment only)
At Pristine Gallery: A-178, C3 Ground Floor, Saini Bhavan, Kotla Mubarkpur,
Bhishma Pitamah Marg, New Delhi.
Email: rupam@newindianexpress.com
X: @rupsjain
