There is sensuous stealth traversing the work of Navid Nuur: it segments (y)our world(s) into objects and their cinematic equivalents, objects recast as sums of impulses and shadows, intuitive reconstruction and infinite becoming, objects as sites of their own mutability.
His exhibitions are an embarrassment of riches, mechanisms of perceptual abundance where everything communicates with everything, decisively yet diaphanously, and where antonymic relations are provisionally suspended.
Navid Nuur looks at the rules that set the infinitesimal against the grandiose, the infra-thin against the monumental, and pit private enjoyment against the seriousness of the public sphere. He registers minute, ramifying pulsations of thought, blinks in the corner of the eye, multiplying possibilities of action, colorful frissons and thrills, ripples of muscular sensations, units of intelligibility and suddenly perceived juxtapositions, gestures of great delicacy and splices within sensations.
These add up to a peculiar ergonomics of artistic thought, where things fade in, out, and compete for visibility; they imaginatively go in tandem with larger processes of the world falling apart and coalescing, with suggestions of an ampler mechanism of color, wonder and order in the world, like being contained in Rubik’s cube, its matching sides falling into place, recomposed around us.
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