“If painting is a poetic and abstract interpretation of reality, Iran Doroudi is a true poet. Her surrealism does not require worn-out elements. She will need nothing but taking advantage of the treasures of Iran’s symbolic tradition, an Iran where Saadi and Behzad lived in…” Frank Elgar
Iran Doroudi is a familiar name for art lovers around the world. She has a well-known history in directing, writing, and teaching at university. Dorudi is believed by some to follow the supra-realism school (surrealism). Salvador Dali never considered Doroudi’s style similar to his and described Doroudi as an Oriental artist with an infinite taste and talent. Doroudi has also been the director and producer of several documentary and short films for television.
With all the capabilities you possess, your existence is just like a miracle. From that first look at painting to achieving significant success. What do you think of it yourself?
Before anything, I should say that despite the difficult experiences and hardships I have gone through during my 81 years of age, it is been a while since I am satisfied from inside and I am happy with who I am. Because I believe that I am among the chosen ones; otherwise, I would not be born with such love of life and I would not enjoy my life. By relying on my inner peace and my faith to the creator of this universe, I feel myself to be one of the happiest.
How did you find your personal touch and uniqueness in your artworks and what recommendations do you have for the young people in this regard?
Until the age of thirty, I was impressed by the painters I'd been fond of, including Premec and Delvaux, Belgian painters like Goya, Munch and most of all Delacroix. After returning from the United States, at the age of thirty, I took a year to find my own unique style. My first work, in which I found my personal style, was a large 2-by-3-meter painting called Rastakhiz (meaning resurrection) which is today in the Contemporary Art Museum of Tehran. A few years later, the light emerged from the mysterious multi-thousand-year-old mysticism was revealed in my works.
Although my painting has gone through various periods and has been transformed, I have kept the same style with an atmosphere replete with light and love. That is why the viewer, despite the different spaces and colors used, can easily recognize works belonging to me without the need to read my signature due to its type of atmosphere.
What do you think of “making ends meets” among the artists? How can one consider this issue and remove it from the artists’ lives?
One of the ethics of artists is absolute material independence from others. This, undoubtedly, leads to “making ends meets”. As I have repeatedly said, I had many different jobs when I was a student. I used to paint New Year's Greeting Card for a while. Then, I started painting on fabric, whose technique I was not even familiar with. When I started copying the works of great painters in Louvre museum in order to understanding space better and as my professor had instructed me to do so, I made money more easily, because when I was copying these artworks, I would offer to sell my work to visitors or I would take the tourists on tours of the Louvre Museum as a guide. I made many copies of my favorite works, but I sold most of them, which I regret terribly and I am left with no more than a few of them today.
Like General De Gaulle, whom you like for his love for his country, you love Iran and it is evident from your first name to presenting your works to Iranian people and all the mysterious images in your works. Your most important concern is your Iranian identity. Where does all this love come from?
It stems from my love to the history and philanthropy of ancient Persia, the love of Cyrus the Great who wrote the human rights charter, and the fact that my identity is my Iranian nationality and because of a thousands of other reasons. Do not forget, I am from Khorasan and from Ferdowsi's descent.
How to make contemporary Iranian art world-famous?
In our era, media and virtual space do it more or less. Nevertheless, I know one of the most famous contemporary painters (who died a few years ago), all whose works, one or more New York galleries bought at a very low price and then presented them to the museums in 48 states of the US. I was in New York at that time and saw this happen. Then, several galleries exhibited the works of this so-called painter for exorbitant prices at the same time. Then, after twenty days, one of this artist’s paintings was auctioned at Sotheby's auction in New York. At the auction, the base valuation price of his work was so low; however, it was sold for four-hundred dollars (probably buy the investor). Thus, this artist soon became famous and his works became exuberantly expensive. The person or people who had planned this investment, made a fortune. Unfortunately, this is a technique that art dealers use to gain profits under the pretext of introducing the artist to the world. They make him dependent and make him involved in these games. In my opinion, one has to doubt the real value of the works of such artists. I believe that we must let these artists find their own way to avoid entering these tempting, and at the same time, profligate and horrible games. We must admit that we live in a century when materialism has become the foundation of societies, and anything can be sold by the name of “artwork”.
How do you rate the spread of galleries in Tehran and the impact of the number of these galleries on art in Iran?
As many people guess, most galleries belong to one person. If this guess is true, this is what I mentioned above regarding profit gaining and earning more than artists. Worse yet, they make the public even more pessimistic about art and artists. Fortunately, there are many authentic and honest galleries that have not entered these games, but their sales do not meet their costs. However, they continue to work for the love they have.