Interview with Korosh Ghazimorad on the occasion of his “Bodies, Tree” exhibition at Sohrab Gallery

“The essence of calligraphy matters to me”
Calligraphy can transcend traditional rules and lean on the musicality of letters and the rhythmic beauty of words.
Korosh Ghazimorad, born in 1969, is a graduate in Wood and Paper Industries and holds an excellent certificate in Shekasteh Nastaligh from the Iran’s Calligraphy Association. He has also made significant contributions to graphic design and press graphics. Numerous exhibitions have presented his works in Iran and abroad.
Ghazimorad is the innovator of Sarir calligraphy style, a novel approach to contemporary calligraphy. He has authored a guidebook for this style and intends to hold an exhibition of Sarir works soon. However, these days Ghazimorad whom we have always seen his works in calligraphy before, has exhibited his paintings, “Bodies, Tree”, at Sohrab Gallery until December 5th. On this occasion, we had the opportunity to speak with him.
You developed an interest in calligraphy from childhood. What factors led you in this direction?
The essence of calligraphy was deeply rooted in both my paternal and maternal families. From a young age, I loved reading and writing. My mother taught me to read when I was just five years old. When I started school, my skills earned the encouragement of my teachers. At the age of 16, I began self-studying calligraphy by practicing works of Master Amir-Khani, and gradually I honed my skills. Later, I joined the Iranian Calligraphers Association and passed its advanced level exam. My family, recognizing that calligraphy was the only art form that could bring me peace, supported and facilitated my path.
Considering your interest in art, why didn’t you choose to attend an art school?
Awareness of the importance of art was very limited during my time, and there were not many opportunities for professional art education. Although we were taught music and painting in elementary school, this did not continue in higher grades. Fortunately, my high school literature teacher, Mr. Safaee, had a particular passion for Nastaliqh, which left a huge impact on me.
Since you studied Wood and Paper Industries, and it has historically been common for calligraphers to create their own papers, did you ever make yours during your traditional calligraphy practice?
I was very interested in traditional papermaking for a while and even made some for my works. However, over time, it lost its importance to me. Nonetheless, studying this field provided me with discipline and an engineering perspective that significantly influenced my works.
You spent some time at the Artistic Sect as well. [Could you tell us about that period?]
Yes, after graduating from the university, I completed my military service at the Art Sect. Due to my proficiency in computer and software, I was transferred to the visual arts department, where I became more familiar with graphic design. Collaborating on digital designs with artists such as Hossein Khosrojerdi and the late Abolfazl Aali was a valuable experience for me.
How did you get into journalism?
My entry into the field of journalism was driven by my deep interest in graphic design and my efforts to access resources in this area. One day, my mother noticed an advertisement in the newspaper from Jaame’e Iranian Company looking for a graphic designer for their advertising department. This was my gateway into the advertising section of reformist newspapers during the second decade of the Islamic Republic. Due to my progress and abilities, I eventually joined the artistic department of the Neshat newspaper and even became its art director. The layout design of Neshat received widespread attention. One of our innovations, in collaboration with the managing director, Mr. Shamsolvaezin, was publishing authors’ and writers’ photos alongside their articles for the first time in Iranian newspapers and making the publication visually focused. After the frequent closures of newspapers, I worked for publications such as Akhbar Eghtesad, Asr Azadegan, Hayat No, and Hambastegi. But eventually, because of the conditions, I decided to leave journalism and establish my own design studio, which remained active until my immigration to the United States.
Did you not consider staying in the United States?
I only stayed in the United States for two years because my family was not interested in staying there. Nonetheless, during that short period, I managed to work at a reputable company, and two of my designs won awards at international events. Returning to Iran was not the end of this experience; visiting museums and numerous exhibitions in the U.S. opened a window to a deeper understanding of world’s contemporary art.
Given that you are considered an artist with style and method in graphic design, why has your activity in this field diminished in recent years?
Throughout the years when I was seriously involved in graphic design, calligraphy was always a part of my life. However, since it did not provide sufficient income, I relied on graphic design to cover my expenses. Eventually, I came to the conclusion to close my design studio and focus entirely on calligraphy. Today, few people know that I spent a long period working in graphic design. However, this shift was an intentional choice and part of my artistic journey.
What changed your perspective on calligraphy?
In the Iranian Calligraphers Association, some masters disagreed with my style. For instance, my unique approach in writing some letters was criticized. Despite this, I stayed true to my path. Discovering the works of artists such as the late Hamid Ghobranejad at first and later, Faramarz Pilaram, adapt my view of calligraphy to a more modern perspective. I concluded that calligraphy could transcend traditional rules and lean on the musicality of letters and the rhythmic beauty of words. After completing my courses at the association, I independently began to explore other scripts, including Naskh, Thuluth, and Gothic. For a short time, I also met a Chinese calligrapher in China. However, because I did not have a mentor in that field, I learned to work with the Chinese brush by watching videos online. Interestingly, I have created a large collection of works using the Chinese brush from the past five years, that have not been shown yet.
Considering that calligram has been prominent in Iran for several decades, when you decided to move into painting, were you concerned that people might classify your work under this genre?
From the beginning, I was clear that my work is not calligram. I am a calligrapher who, as a painter, is free to incorporate elements of script and form into my works. The structure of calligraphy naturally appears in my paintings, but this does not mean my work can be defined as calligram. What I create follows two distinct approaches: one is classical calligraphy, and the other is painting, which focuses on form, color, texture, and an abstract space.
Although many mistakenly recognize me as a calligram artis, I emphasize that I have worked on Nastaligh and Shekasteh Nastaligh classically and in three different styles. This misconception may stem from my preference for creating large scale works on canvas, which has overshadowed my background in traditional calligraphy. That is why some might think that the scripts I write on canvas are accidental or uninformed by the historical and artistic legacy of calligraphy.
In my works, I focus more on black-and-white compositions than on colorful ones because I believe the essence of calligraphy is best presented in its purest form. Color can distract you from the structure of the script and shift attention to other aspects of the artwork. In my opinion, the structure of calligraphy can only be fully appreciated in black ink. Even, in my “White on White” exhibition, I created entirely white works using two different shades of white on canvas.
So, you do not consider your works calligrams, right?
No, despite the fact that I use colors in some of my works, I cannot call them calligrams. The difference between calligraphy and painting is clear to me, and my works result from a conscious choice between these two approaches.
As the innovator of Sarir calligraphy style, from which script is this new style derived?
This script is heavily inspired by the traditional Shekasteh script. But, my approach to calligraphy and script brings me new experiences every day. What has always mattered to me is changing the way we view script, with the hope of reminding people of the potentials of Persian calligraphy.
I believe what calligraphy has achieved so far is only a fraction of Persian script capabilities. If scripts like Shekasteh Nastaligh and Taligh were created in the past, this evolution can undoubtedly continue; This does not negate the past or its valuable heritage. I still enjoy seeing a beautiful calligraphy from past generations and have always tried to follow two parallel paths in my work: adhering to classical rules in traditional calligraphy and exploring a more personal and experimental approach to script at the same time. Today, we need a form of calligraphy that responds to the demands of contemporary art and modern perception. Art, as a tool for expressing emotions and feelings, must reflect how we perceive the world around us.
In today’s world, where many concepts are viewed through a minimalist and simplified lens, do traditional methods of calligraphy still respond to this perception?
If we have embraced the change in our thoughts and perspectives, this change must be expressed in art, as well. Throughout the history, transformation has always been a part of art’s evolution. Similarly, today calligraphy must find new ways to express contemporary emotions and perceptions.
How do you create your paintings?
Some of my paintings are created entirely instinctively, while others are pre-planned. Occasionally, I use digital techniques to combine calligraphy and painting, ultimately creating works that are considered modern. I do not overlook any possibilities when it comes to creating art. Recently, I have been studying a lot about artificial intelligence and other modern approaches in design.
Considering that you are a prolific artist, why is there sometimes a long gap between your exhibitions?
Although I am highly productive, I really respect my audience and only exhibit works that are truly worth presenting, even if preparing them takes years.
Will your next exhibition focus on calligraphy or painting?
I will soon publish the guidebook for Sarir script and hold an exhibition showcasing works in this script. I hope to introduce more of the potentials of Persian calligraphy and offer this art a fresh perspective.
How was the reception of the “Bodies, Tree” exhibition?
The reception exceeded my expectations, and I received many positive and encouraging feedback. Many of the works sparked discussion, which indicates their impact. Unlike some artists who are afraid of being innovative in their art after a period of success, I do not share this concern.
Repeating an idea feels tedious and contrary to the creative essence of art for me. In this recent collection, there is a specific energy and vitality that visitors noticed and appreciated. The movement of wind and dynamism was reflected in my works, and the selected color palette received a particular reception. This shift from a black-and-white world to vibrant and joyful colors was a journey toward freedom from hidden sorrows for me. Our society is intertwined with pain and grief, and these colors represented a kind of escape from such emotions. Working on this collection first improved my own mood and fortunately, this positive energy was also passed on to the viewers, to the extent that seeing the works brought smiles to their faces.
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