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Pico della Mirandola states that Humans are left unfinished. God made a rough draft of Adam, which is Adam's own work to finish.
If we accept Pico's words, then maybe our hard lesson in these fast-paced and painful times is to be hopefully hopeless and wait. Whether it’s waiting in front of the works of an artist in an exhibition or waiting for the history that is going through its contemporary twists and turns with fear and hope. These statues probably don't want anything more from us. To be seen, understood, and remembered; or if it were to be forgotten, to leave a trace on the memory. Like the invisible trace of a dream that is forgotten when the eyes open but has been seen. Sometimes with the eyes. Sometimes with hands.
There is an important question before every creator. Does the audience have the right to ignore him? Should the creator seek a way to teach him patience and keep him a little longer than what the audience himself wants in front of his creation? Perhaps this is a question that has crossed Kamran Mehrad's mind during the long process of creating his works. We do not know, and we are not looking for an answer. Terry Eagleton rightly reminds us that it's the questions that matter, not the answers.
In his brilliant interpretation, Kant calls the hand a window to the mind; A visible manifestation of the mind. It is interesting to note that instead of emphasizing more on the eyes and their connection with the mind, Kant accentuates the hand. The hand is an important part in the process of creation. It is true that the mind is a magnificent processor and a nest of thoughts and desires; but what a person experiences is ultimately made objective by the hand. The hand that paints, the hand that plays instruments, the hand that makes sculptures and the hand that hugs. In today's fast-paced world, our hands are the perfect representation of us all. Our thumbs and forefingers see, select, and reject during long cyberspace wanderings. The hand is hurryingly moving, and the mind is moving alongside it. In watching the works of an artist, we stand in front of the hand and mind that created, made mistakes, waited for its mistakes, and hoped with enviable faith.
There is an important question before every creator. Does the audience have the right to ignore him? Should the creator seek a way to teach him patience and keep him a little longer than what the audience himself wants in front of his creation? Perhaps this is a question that has crossed Kamran Mehrad's mind during the long process of creating his works. We do not know, and we are not looking for an answer. Terry Eagleton rightly reminds us that it's the questions that matter, not the answers.
In his brilliant interpretation, Kant calls the hand a window to the mind; A visible manifestation of the mind. It is interesting to note that instead of emphasizing more on the eyes and their connection with the mind, Kant accentuates the hand. The hand is an important part in the process of creation. It is true that the mind is a magnificent processor and a nest of thoughts and desires; but what a person experiences is ultimately made objective by the hand. The hand that paints, the hand that plays instruments, the hand that makes sculptures and the hand that hugs. In today's fast-paced world, our hands are the perfect representation of us all. Our thumbs and forefingers see, select, and reject during long cyberspace wanderings. The hand is hurryingly moving, and the mind is moving alongside it. In watching the works of an artist, we stand in front of the hand and mind that created, made mistakes, waited for its mistakes, and hoped with enviable faith.