"Where did you begin and how were you drawn to this art?" is a cliche question. It is annoying both to artists who have long been active in a certain field and to those who have not been in a field for long. There are artists who imagine they are well known, and therefore should not be asked such a question, while there are others who consider such questions banal.
But my own experience has convinced me that I must ask such a question. Contrary to the norm, Kayvan and Sanaz Fehri, two ceramic artists married to each other received the question well.
"It was quite accidental. About ten years ago I went to a workshop for acquiring a few pieces of pottery for my sister. The atmosphere of the pottery workshop and the positive encounter I had with the owners of the workshop, who later became my first teachers, fascinated me with this art. I immediately set out to work.
It wasn't long before I felt that I was very interested in this art." This is how Kayvan, 29, answered my cliche question. He believes it is difficult for others to believe this. "There are artists who have been drawn to art since their childhood, out of love. But in my case it all began with this simple accident." At times, a hard blow is required to draw out one's abilities and latent talents. This is what has occurred in the case of this couple. A simple incident can be a turning point in one's life.
Sanaz, 22, who apparently has been observing Kayvan's movements from artistic to prosaic since before marriage, said, "We were neighbors; I became familiar with Kayvan's work by seeing his work." With a girlish, mischievous smile, Sanaz continued: "These incidents led me to gradually move from the third floor to the first floor two years ago and begin a life together. When one loves someone, one will also love everything that belongs to that person. Since the art of ceramics belonged to Kayvan, I became interested in this art, too.
" These words of Sanaz were a seal of approval on the driving power of love. Throughout the conversations of this couple who, I believe, portrayed the epitome of happiness, a divine spirit ruled. They felt indebted to God's grace for all that they had.
This gave me great satisfaction at heart because nowadays I find few young people who speak of God with purity and love. I told Kayvan, "So you have been your wife's teacher." He replied, "Everyone's teacher is God. But I did teach her the principles of ceramics, and due to her interest and inclination, my wife learned the basic points quickly.
" Generally, to create a work of art, artists require special spiritual and psychological circumstances. Upon pointing this out to Kayvan, he said, "A work of art is the only kind of work from which an artist derives pleasure and does not become spiritually fatigued. And if fatigue does settle in, seeing the result of the work erases it from the body. Generally, however, I set hand to clay only when I have something new to say." I asked Sanaz to speak on anything she liked without my asking any particular question.
"When one believes in one's talent, cultivates it and expends all one's power of mind on it, one is capable of achieving great heights. In general, our works of art are the offspring of our happy and sad moments, each of which possesses its own special beauty. However, we usually choose moments for work when our spirit is positive." There are many spouses who are active in contemporary art in Iran, but I had not witnessed such sincerity and fascination in any of them. Kayvan himself admitted that perhaps one soul lies within their two bodies.
"It is better when we work together; in some way we complement each other. It can be said that we are one soul in two bodies, like one person with four hands. Before the appearance of my wife I was used to working alone, but now I am used to working with her. If she isn't there I am not able to work." "So long as Kayvan doesn't work," said Sanaz, "I have no motive to work either. When he begins to work he instills in me the incentive and motive to work." This couple-artist, who as women say, "go very well together," have entered two of their joint works as the only Iranian participants in the upcoming Australian Ceramic Exhibition, to take place next October. By seeing their work, it appeared to me that I had seen a sample of them somewhere.
The form of the two artists' works is reminiscent of the works of ancient Persian civilization. "We are the inheritors of an 8,000-year history in ceramic art; the works of our ancestors are more attractive to us. Most of our work relates to the creation of museum pieces and the revival of ancient ceramic art." Of course, I later realized that their works have been created based on certain pieces from the Museum of Glass and Ceramics with a masterful technique. This could be of interest to the Cultural Heritage Organization so as to benefit from the talents of such artists in the reconstruction of some works of art.
With the help of his master, Mohammad Mahdi Anoushfar, Kayvan has revived a special technique in ceramic glazing which was used hundreds of years ago in Persia. This technique, called "zarrin-fam," is a golden glaze that imparts a special attractiveness to pottery; at first glance the viewer imagines the work has been made of gold. "I have big plans in my mind. I like to always be in contact with abroad. In this way, I wish to transfer my country's culture to those who have not been in this field before but have now emerged and are active.
" He was speaking with great passion. Nowadays, whomever you speak with does not enjoy his work; he works only to earn a living.
But my wife and I do not work just to go through life; it is enough for us to have a piece of bread and water. We take pleasure in the fact that we do what we like to do. As of the day I began this work I have come to believe now that I have come upon this art, if I stand firm in my goal, my day-to-day problems will be solved and He who is watching from above will support me.
" Sanaz confirmed the words of her husband: "We have never created a work of art in order to sell it. We created it from our heart.
Until now the help of God has prevented us from becoming dependent on anyone. Our life has happily followed its course." I asked them to define ceramics in a literary or artistic, not scientific, sense. Their response was pure and taken to heart. Kayvan said, "Man arises from dust and returns to dust. In my belief, the attraction and love which man has for the soil originates in this.
It is not possible to see a work of ceramics and not like it, and, if possible, want to sit for a few moments behind a potter's wheel. I am willing to bet that if the most modern toys were placed on one side and a mound of soil and a bit of water on another, the toys would be of interest to children only for a few moments. But they would never tire of playing with soil and mud." Sanaz interpreted ceramic art and molding clay as a way of purifying the mind and spirit, a way of giving form to things that are occurring within one's soul.
"When we begin work, in effect we impart spirit to clay. At this moment the emotions and spirit which prevail over one are manifested in one's work. This is why our work is the offspring of both happy and sad moments, and each state of mind possesses its own beauty." I asked Sanaz what she thinks in general of art. "Art is the creation of reality, a beautiful reality in which the soul of the creator is represented. The best form of expressing it is to express it simply. Modernism has deprived art of this simplicity, beauty and honesty, representing it to us in a repugnant manner.
This is the death of art." As I mentioned earlier, God was both apparent and hidden in their words. Now that the dry atmosphere of the beginning of our interview had vanished, Kayvan spoke from the heart: "I had a teacher who would say, Those who create a work of art become nearer to God. When one creates something, despite how insignificant the work may be, he learns how difficult it is to create. It is at that moment when he realizes God's grandeur, splendor and power in the work of Creation." Continuing her husband's line of thought, Sanaz said, "We find God in this work and in this manner we derive pleasure from it.
This is the greatest thing a human being can attain in his or her life. I can boldly state that not everyone is blessed with work that brings them joy." Due to the circumstances and spirit required for this art, Sanaz considers it to be different from other arts. "The spirit of this work is different from that of other works of art. Perhaps this view of mine is to some extent biased, but the reality is that each work passes through different stages. You have to go to the kiln five times.
At each stage anything might happen. At the moment a potter opens the door to the kiln, his spiritual state cannot be easily described. It is this spirit which makes his art different from other arts." By remembering his masters, Kayvan confirms the words of Sanaz: "Pottery can break; it can shatter. This may occur in the very last moments of creating a piece of work, when the potter sees all his work scattered to the wind. I had a master who said, A potter must have a big heart'. But Anoushfar would say a potter must have thick skin.
When he instructed his students he would evaluate them based on the moment a student would come face to face with a ruined piece of work in the kiln. He would only count on students whose reaction would be to persevere, those who would begin anew." I felt that the breaking of a potter's work in the kiln was akin to the breaking of a potter's heart. As they described, once, upon the breakage of one of their works they both broke into tears. In her own words, when Kayvan's work would be ruined, Sanaz would be more upset, because Kayvan would pretend it didn't happen.
This reaction would make Sanaz more upset. She quickly adds: "One must bear in mind that he who is not defeated cannot know his strengths and weaknesses." Kayvan adds, "One must accept defeat in order to open the way for future success. If the work did not turn out well it must have had a flaw. One must try to eliminate the flaw." Kayvan tried not to talk about the big ideas and plans he has for the future but in my view, sometimes talking about big ideas and plans makes one more determined in reaching them.
"The plan I have for the future is to become the best ceramic artist in the world. Perhaps it is too boastful, but my aim in life revolves around this. And my wife will assist me in this aim. I have heard the saying: "Behind every successful man there is an exhausted woman". That is, if a man becomes successful it is in great part due to the efforts of his wife. Since I see that my wife and God both assist me, I do not view my goal as unattainable. We must not forget that once upon a time our country was outstanding in this field.
" These two truly completed one another, for Sanaz's words showed this: "If Kayvan does not reach the goal he has set for himself, it is not very important. What is important is that he has made great effort in order to attain his goal." I was not prepared to end this conversation. I cannot call this an art interview.
This subject was on love love for a spouse, love for life, and love for God.