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ArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremovedArefMontazeriwasborninTehranIranin1986HeisasculptorremovedfromconventionalpracticeshepursuesanovelapproachtomirrorartthatinvolveslargenumbersofmirrorcutsandmeticulousattentiontodetailConceptuallyhefollowsanapproachhehastermedmirrisasculptorremoved

Aref Montazeri was born in Tehran, Iran on September 8th, 1986. He is a sculptor removed from conventional practices, he pursues a novel approach to mirror art that involves large numbers of mirror cuts and meticulous attention to detail. Conceptually, he follows an approach he has termed “MIRROR follows narrative”; Which favors materialism over ornamentalism and resilience of design over buildability. His design apparatus consists of three criteria: Narrative, Material and Technique. Which is also the way he looks at art and creates it.

He started his training during the time he collaborated with Monir Shahroudy Farmanfarmaian on design and fabrication of around 60 sculptures (2009-2015). Additionally, he was involved in fabrication of Parviz Tanavoli’s sculptures and jewelries (2012-2014).

He was artist-in-residence and collaborated with TUIC (Tehran Urban Innovation Center) on research projects in areas such as smart techniques and innovative materials (2016-2018). Moreover, in a collaboration with Maleki Collection in Beaulieu-sur-Mer in south of France, he was artist-in-residence for 7 months, in this collaboration he fabricated 3 sculptures, “EMBRACE”, “MIRROR 11” and the most laborious mirror artwork titled “PARADOX” which consists of 70,000 mirror pieces (2018-2020). He exhibited his first collection titled “MIRROR” in Leila Heller Gallery booth in Art Dubai 2021. Following the conclusion of Art Dubai, he exhibited his first solo show “MIRROR” at Leila Heller gallery in Dubai (2021). He also took part in Leila Heller Gallery summer group show alongside notable artist such as Sacha Jafri and Eduardo Perez-Cabrero He exhibited one of his artworks titled “MIRROR 00” at Iran Pavilion in World Expo 2020 (2021). Later on, he exhibited the mentioned artwork alongside a few others in his solo booth in Abu Dhabi Art Fair (2021). Following that, he took part in Shara Art Fair in Jeddah, Saudi Arabia (2021).

Aref Montazeri Portrait

It is only when the mirror is turned inside-out that its autonomy as an object is explicated. MIRROR collection motto is: “To truly see a mirror one should look at it from behind” It is only when the mirror is turned inside-out that its autonomy as an object is explicated. MIRROR collection motto is: “To truly see a mirror one should look at it from behind”

DOWNLOADFULL CV

Sculptor | Leila Heller Gallery, Dubai, UAE – New York, USA

2020 - Present

I joined Leila Heller Gallery in 2020. Following that, I exhibited five pieces of MIRROR collection in Leila Heller Gallery’s virtual booth in Abu Dhabi Virtual Art Fair in November 2020. Afterwards, I exhibited three pieces of MIRROR collection in Art Dubai in April 2021.
Thereupon, I held my first solo show at Leila Heller Gallery in Dubai on April 7th, 2021, in which I exhibited six pieces of MIRROR collection. I am currently working on finishing this Collection to exhibit it in Dubai and later, in New York.

Sculptor | Self-employed, Tehran, Iran

2012 - 2020

Removed from conventional practices, I pursue a novel approach to mirror art that involves large numbers of mirror cuts and meticulous attention to detail. Conceptually, I follow an approach I’ve termed “mirror follows narrative”, which favors materialism over ornamentalism and resilience of design over buildability. My design apparatus consists of three criteria: Narrative, Material and Technique. Which is also the way I look at art and create it.
I mainly work with mirror, but also with other materials such as bronze, stainless steel, mother of pearl, Swarovski crystals, Silicone Carbide, plexiglass, aluminium and wood. I have developed a new durable custom-made polymer to use in creating base structures.
Additionally, I am skilled in using acrylic and metal sheets. As a result of my background in architecture, I am able to employ modelling packages such as AutoCAD, Sketch-up, Rhino, and Grasshopper. Additionally, I have trained and currently work with a team of three specialist artisans.
I have had several commissioning orders in different capacities. However, for the last years, my focus has been on preparing my own portfolio, consisting of five collections. One of them is titled “MIRROR: To truly see a mirror one should look at it from behind”, which consists of fifteen pieces.

Artist-in-Residence | Maleki Collection, Beaulieu-sur-mer, France

2018 - 2020

In a collaboration with Maleki Collection in Beaulieu-sur-mer, France, I fabricated three sculptures in my studio, "EMBRACE", "MIRROR 11" and the most laborious mirror artwork titled “PARADOX” which consists of 70,000 mirror pieces. Later on, all of the mentioned artworks were assembled and installed on site by myself during my six-month long residency in Beaulieu-sur-mer.

Artist-in-Residence | TUIC, Tehran, Iran

2016 - 2018

I collaborated with TUIC (Tehran Urban Innovation Centre) on research projects in areas such as smart fabrication techniques and innovative materials. During this time, I was under the close supervision and mentorship of Dr Nashid Nabian, a Harvard and MIT graduate and former faculty member, and an internationally renowned architect and academician in architecture, who is the founder and the director of the center.

Sculptor | Monir Shahroudy Farmanfarmaian’s Studio, Tehran, Iran

2009 - 2015

With Mrs. Farmanfarmaian - a prominent Iranian artist and one of the BBC’s ‘100 Women of 2015’ -, I co-designed, developed 3D models, and assisted her in the construction of more than 60 artworks, many of which were exhibited in notable institutions such as the Guggenheim, Wiels Museum, Haines Gallery, and The Third Line. During my time at her studio, I was able to learn traditional techniques of mirror art from leading Iranian artisans.

Sculptor | Parviz Tanavoli’s Studio, Tehran, Iran

2012 - 2014

With Mrs. Farmanfarmaian - a prominent Iranian artist and one of the BBC’s ‘100 Women of 2015’ -, I co-designed, developed 3D models, and assisted her in the construction of more than 60 artworks, many of which were exhibited in notable institutions such as the Guggenheim, Wiels Museum, Haines Gallery, and The Third Line. During my time at her studio, I was able to learn traditional techniques of mirror art from leading Iranian artisans.

Text:
Aref Montazeri
Nashid Nabian

Photo:
Shihan Dissanayake

Visual Identity / Web design:
Studio Melli
Omid Nemalhabib / Mahsa Gholinezhad

Web development:
Mohamad Gholinezhad

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