Bahar Binesh forms her paintings alongside of the past, in this way, aesthetic elements in her paintings are connected to the modern art period and her works mechanism finds its path in contemporary visual art range.
Her abstraction does not deny the world around her suddenly; it looks for a transmutation to create a new world from the perceptible world that on one hand depends on it and on the other is independent and this conscious concurrence reminds the Cezanne’s theory about ratio of 2D canvas surface with the outside world.
Created world on the canvas by Bahar Binesh with its own essentials ratio with outside world is moving toward being a personal synthesis. In her canvas, she rediscovers human beings not as a being separate from the world, but in the essence of phenomena.
A person in a homogeneous relation with the objects and the discrete elements of this world is sometimes vaguely understandable, and it is an indirect reference to human’s obscure and forgotten identity which, in relation to phenomena, has forgotten her/his existence, and in order to know her/him, we need to redefine human-beings again.
This subjective plurality is moving with a kind of internal alignment toward an inner bond and an integrated unity, as if the human being and his identity in the world; despite his ambiguity and perplexity in a definite determinism; are being transformed toward a unified positive pattern.
Her talented use of color evokes a sense of hope toward future and her negative theme brings the ambiguity and destruction to her work, which together they create a meaningful paradox. This contradiction is her critique of the current situation, which is somehow mixed up with her own personal statement.
Expressionist expression with a suitable aesthetic order is evident in her paintings and eventually she is committed to such mechanism.
Text by Hossein Norouzi