Forest Heart Ishusho Yimbaho na Mohamadali Vadood

Umushinga Forest Heart Ishusho Yimbaho wa Mohamadali Vadood ni uwatsinze igihembo cyubahwa cyane 2020 Igihembo cya A' Design Award cy'icyuma mu Cyiciro cy'Ihiganwa cya Ubuhanzi Bwiza.

IcyumaUbuhanzi Bwiza· 2020

Forest Heart Ishusho Yimbaho

na Mohamadali Vadood

Umukiriya: Gerdayesh

Uwatsinze Igihembo cya A' Design Award cy'icyuma mu Cyiciro cya Ubuhanzi Bwiza

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Uwatsinze Igihembo Yemejwe

Emeza Uko Igihembo Gihagaze ku #86837

Sura Urubuga Reba kuri A' Design Award Itangazo ry'Ikinyamakuru Ikimenyetso cy'Igihembo

Amabara

Imigereranyo

Ibyerekeye Forest Heart Ishusho Yimbaho

Ishyamba ryumutima nigikorwa kimeze nkumushinga muri Naqshbandi, uburyo bwo gukora marquetry buvuga ko ari ugushyira mubikorwa ibihe bishya mumateka yubuhanzi bwibiti. Ku ikubitiro, yerekana ishusho yinyoni, buri gice cyumubiri wacyo uhereye ku giti cyishyamba. Ingingo idasanzwe, ariko, ntabwo igumana gusa amabara yumwimerere yishyamba, nkuko bisanzwe bikorwa mubikorwa byose bya marquetry, ikiza kandi ibishushanyo, igicucu cyoroshye-imiraba, hamwe nimiterere. Isi yubuvumbuzi butangaje buri gice gifite nuburyo bukomeye, kuburyo abayireba bashobora kubona ishyamba ryumutungo kamere.

Ishimwe

Ibyerekeye Igihembo cya A' Design Award cy'icyuma

Forest Heart Ishusho Yimbaho ni uwegukanye Igihembo cya A' Design Award cy'icyuma, ishimwe ry'agaciro ritangwa ku bishushanyo byiza bihuza ibyo umwuga n'inganda bikeneye ku bihangano byashushanyijwe neza. Abegukanye icyuma bagaragaza ubuhanga bukomeye, ubumenyi bwihariye, imyumvire y'inzobere n'ubushobozi bwo guhanga bw'ababikoze. Forest Heart Ishusho Yimbaho biteganyijwe ko izaba igihangano cyubahwa, gishimwa kandi gikundwa, gifatika kandi gifite udushya. Iki gishushanyo cyegukanye icyuma gihuza uburyo bwiza bukoreshwa mu nganda kandi gifite ibiranga bya tekiniki bifite ubushobozi, bifatanye n'ubumenyi n'impano. Forest Heart Ishusho Yimbaho yubahwa kubera gukora neza, kandi yashushanyijwe kugira ngo inoze ubuzima, ifashe gutuma isi iba nziza.

Inyuma y'Imigereranyo

Dosiye y'Itangazamakuru

Amazina y'abagize uruhare, abagize itsinda n'amakuru y'ubuhanga byatanzwe n'umuhanzi.

Ibintu Bidasanzwe: This art project tries to fulfill three intended purposes:
1. Taking a fresh look at wood to explore a new perception in it and to harmonize with its pure nature as well, so we can come up with original ideas to create real art.
2. Applying an innovative technique in working with wood and also in using common tools so we could achieve adequate quality in our performance.
3. Discovering, creating and defining new ways to gain desired images by tracing natural patterns in pieces of wood and making a synthesis between them.
Ibipimo n'Ipaki: The size is 35 in 60 cm.
The thickness of wood sheets were 4 mm.
The number of pieces are 47.
The weight is 700 gr.
All the colours and shades are chosen carefully to seize the natural fortuities in the woods.
Ibibazo Fatizo: naqshbandi, wood pattern tracing, marquetry, wood pattern, double cut, wood texture, wood cut, coping saw, wood character, wood art
Ikoranabuhanga ryo Guteza Imbere: Defining a geometrical table based on cutting angles plus a method of cutting for even 1 mm pieces, and trying to have desired wood patterns and spots by restoring in perfect conditions like natural moisture percentage, etc. to benefit from bacteria activity were the main production phases.
The types of wood, they were haloxylon for the body and the head, barberry for the tail, fig for the feet, tree of heaven for the nose and the leaves, acer monspessulanum (keykom) for the leaves again, jujube for the beak, European ash for the background and wenge for the margin.
The tools were coping saw, plane, sanding paper, nail and hammer.
Ikibazo cy'Ishusho: Defining geometrical patterns of cuts so that pieces of wood could save their original patterns, overcoming the thickness of cutline without using primer, and coming up with the idea of what I call Double-cut at the time of sanding to prevent the destruction of sub-patterns and sub-textures and save the main image are the parts of this work that ended up being its challenges.
Ubushakashatsi: Naqshbandi is a new method or attitude which is used to create this piece and aims to benefit from connecting lines, expanding textures from one piece to another, and deciding upon the true light shade, not just the colour contrast and various tonalities as it is usual in other works of marquetry. It requires the artist to make a full-hearted attempt to harmonize themselves with the nature of wood as much as possible, and help them grow a clear perception of their work and gain a direct inspiration from natural fortuities given by wood. So, the whole thing will finally sound the art of nature in the eye of beholder.
Ibyatumye Habaho: Natural wood structure, consisting of a variety of colours, illusory lines, special texture and darkened and bright spots with special makeup during the growth of the tree, can broaden any individuals' horizon in many impossible to imagine ways. The cutting angle of the wood makes these motifs look even more varied on the surface of a piece, cut from the main wood. With this discovery of what the cutting angle leads to what l am thinking of, l came up with this idea that I would find a base for this to control the patterns, lines and colors of the wood to create an originally incredible image based on the nature of wood and not manual changes.
Igihe cy'Umushinga: This work was created, in Tehran, started and finished in 2010, and to find appropriate woods they were provided from different places.
It took 6 months to accomplish the project as it turned out to be time-consuming to find desired wood pieces.
Uburyo bw'Imikorere: In this project-like work of art you can see a specific way of working with wood using the fewest pieces and mainly benefiting from the natural colour and also texture of the wood so you can build up a perfectly complete image, which actually cannot be repeated or copied as patterns in each piece are naturlly unique. Thus, it can be artistically used as a piece of decoration, specifically in wood-based decorated spaces on the wall or a shelf.
As for the transformation, it could be carried in a box of the same size and as it deos not weigh that much or take up much space, it does not matter a special transport.
Abagize Itsinda: the artist and the founding father of the method: Mohammad-ali Vadood