What sets Shirin Tabeshfar's painting apart, despite a stylistic evolution over time, is that it remains true to his chosen field: still life. Obviously, years of patient and laborious research direct his painting towards an extreme simplification of forms. Almost freed from the subject, Shirin attempts to question the world of forms. Their formal rigor now gives way to the greatest stripping.

His paintings are organized around the balance of fields of subtle colors, on a gray or white background with a translucent mattness. They are "semblances" of everyday objects, reduced to ghostly forms, and far from being fixed, which seem to move on the canvas. Sometimes the fine, liquid material of the acrylic paint lets the bare canvas show through. By dint of analysis, Shirin achieves a sort of abstraction that is both rigorous and poetic.

From painting to painting we discover a change in the arrangement of his canvas: the drips of paint sometimes fill the entire space. The gaze is lost in a labyrinth of lines, all unfolding in a continuous composition, without edges or center. Yet the layout of the lines retains the impression of order and controlled gesture of the artist. In her latest compositions, she affirms a certain nostalgia for Iranian art. Shirin is inspired by printed fabrics (Ghalamkar) from Isfahan, and creates fabrics in subtle tones, punctuated by patterns and writings. Thus it pays homage to an ancient art.

From figuration to abstraction, Shirin's art manages to keep its innate freshness, in a world of silent poetry. Text by, Afsaneh HSJavadi

Shirin Tabeshfar, studied Fine Arts and Design in Bristol and subsequently obtained his BA in Graphic Art from the Art Academy in Bath. She started a brilliant career in graphic art, and was awarded several times. Shirin very quickly turns to painting, her original love, a tool with which she more easily expresses her emotions.