Carbon 12 is a warehouse gallery in Dubai’s industrial area, Al Quoz, full of art galleries and the like. There is a severe contrast between the gloss of the exhibitions and the dusty factories surrounding it, similar to our subject FARZAN SADJADI’s work.

The exhibition is beautifully simple, made up of seven paintings influenced by the artist’s time in the Iranian military. Dogs also play a central role in “Slushy Snow I and II”, where Sadjadi emphasizes the aggressive character of natural selection. Both paintings depict dirty grey snow to show that absence of purity even in dogs.

“Shady Fields” is the only painting with a true use of colour in the exhibition. Sadjadi shows that mankind exists without being present in the empty landscapes.

When rounding a “Tight Corner” you see just what the painting sums up: a blur of white dashed lines against asphalt. What’s curious about this painting is that the background appears to be from a driver’s perspective, but the dog doesn’t fit into the equation. So you rethink the painting from the dog’s view yet it still doesn’t work.

Sadjadi also displays a questionable perspective in “Bending Reeds” where the distant viewpoint is that of someone standing, whereas the nearby reeds are seen from someone who is crouched behind.

I couldn’t help but let out a gasp after seeing “Prison On Fire” as my initial reaction is that of shock and fear. After which I realised that the use of red paint to represent the fire is so minimal, yet when teamed with the swirls of dark grey clouds is completely sufficient to induce fright.

“Cable Theft” is a significant piece in the exhibition. Sadjadi envisioned it when he was in the process of tracking down a soldier who was absent without leave. One of the men he was looking for was already imprisoned for cable theft, which inspired an image in his mind that eventually became a painting.

What surprised me the most was the absence of all the fluff that comes with many artists today. The pieces are labeled straightforwardly with no hidden connotations, the brushwork strong and palette basic. Sadjadi says that he began painting to make money, but continued to do it as his passion grew. Perhaps it’s Sadjadi’s minimalist approach that made his work so memorable, or that the message he wishes to convey is immediately obvious in his paintings.

Written by Nadia El-Dasher

Photography by Konstantin Petrov

For more information, please visit Carbon 12 website