A conversation with Shahpour Pouyan, an Iranian artist whose works range from drawing and painting to sculpture and performance art.

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TONIGHT WE''LL VISIT WIT SHAPUR PARAN, AN IRANIAN ARTIS WHO CURRENTLY SPLITS HIS TIM BETWEEN NEW YORK AND IRAN.

BORN IN 1979, THE YEAR OF IRAN'' EVOLUTION, HIS CHILDHOOD WAS PROFOUNDLY IMPACTED BY THE EIGHT-YEAR WAR WITH IRAQ HIS WASHINGTONS FRANK DRAWIN AND PAINT -- WORKS RANK FROM DRAWING AND PAINTING T RELIGION, ALTHOUGH NOT ALWAYS IN AN OBVIOUS WAY LAST YEAR PARAN WAS ONE OF THREE YOUNGER ARTISTS WITH A EXHIBITION AT THE GRAY ART GALLERY.

GLOBAL LOCAL 1960 TO 2015.

SIX ARTISTS FROM IRAN ON ON DISPLAY WERE HIS COPIES O PERSIAN MINIATURES WIT HISTORICAL FIGURES ERASED AN GAPS IN THE LANDSCAPE FILLED IN.

ALSO INCLUDED WERE HIS PROJECTILES, A SERIES OF IMPOSING SCULPTURES MADE OUT O CHAIN MAIL, A CRAFT THE ARTIST LEARNED FROM A MASTER PERSIA BUILDER AND ETCHED CAN CALLIGRAPHY.

HIS LATEST WORK IS IN CERAMICS CREATED AT BRICKHOUSE CERAMI ARTS CENTER IN LONG ISLAND CITY, AND ARE PART OF HIS FIRST SOLO EXHIBITION IN FRANCE

I MAKE CERAMICS AND AT THE SAME TIME, I DO PAINTING, DRAWING, PHOTOGRAPHY EVERYTHING THE FUN PART IS DOING EVERYTHING WITH MY OWN HANDS.

I GREW UP IN TEHRAN AND LIVE I BROOKLYN NOW IRAN IS A MODERN NAME -- PERSIA, OF COURSE, HAS A THOUSAND YEAR OF HISTORY S. I DON''T THINK IT'' ABOUT THE SPECIFIC GEOGRAPHY IT''S MORE ABOUT THE CULTURE AND INTERACTIONS THAT HAPPEN PROJECTILES ARE BASED ON THE OLD PRACTICE OF PRODUCING ARMOR IN IRAN WHICH, YOU KNOW, HAS BEEN IN IRAN FOR 2,000 YEARS, 3,000 YEARS.

THE PHYSICAL PROCESS IS ABOU BRINGING THIS VERY OLD, MEDIEVAL TECHNIQUE, AND BRINGING IT BAC TO LIFE IN A VERY CONTEMPORARY FORM OF PRACTICING ART ARMOR IS LAYERS OF HISTORY AT SOME POINT, IT TURNS TO BE VERY POETIC PRODUCT WHICH IS COVERED BY DECORATION, POETRY, AND LAYERS AND LAYERS OF RIC CULTURE.

PEOPLE ALWAYS ASK ME WHAT AR YOU TRYING TO SAY.

TELLING ANYTHING ABOUT THIS WORK IS JUST MAKE IT MORE COMPLICATED.

THERE ARE DIFFERENT ROOTS AN UNDERSTANDING IN DIFFERENT CULTURES I WOULD SAY IT''S LAYERS AND LAYERS OF MISUNDERSTANDING WHICH IS THE TRUTH I COLLECTED AND SELECTED SPECIFIC MINIATURES FROM MEDIEVAL AND 15, 16 CENTURIES.

WE''RE TALKING ABOUT THE LAS GEOGRAPHY OF TODAY''S MANY COUNTRIES.

WITH VERY IMPORTANT HISTORICAL MOMENTS, AND THEN I REMOVED AL THE FIGURES, HEROES, ANTI-HEROES.

I FREED THE MINIATURES FROM THAT WEIGHT OF FEARS.

SO WHAT YOU SEE IS EMPTY LANDSCAPE OR ARCHITECTURAL SCENE.

THERE IS A STORY THERE HOWEVER, YOU CAN READ IT OR NOT.

IT''S JUST, I WOULD SAY, UPDATED I DO MANY SKETCHES I KEEP DOING SKETCHES AND JUST DOING IT AGAIN AND AGAIN CHANGING AND CHANGING.

BUT THEY''RE ALL COMING FROM A IDEA I HAVE SOMETHING IN MY MIND AN A CONCEPT.

I''M SOMETHING THAT HAS TO GE THE FORM, AND THEN I GO TO THE STUDIO AND START BUILDING TH CERAMIC PIECE.

KEEP CHANGING, CHANGING, AND THE FINAL RESULT IS PROBABLY SOMETHING ELSE WORKING WITH CLAY IS AMAZING BECAUSE IT DECEIVES ME EVERY DAY YOU''RE WAITING AND THINK IT''S GOING TO SURPRISE YO WITH SOMETHING, WITH A NEW CRACK, WITH A CHANGE O FORMATION, WITH MANY THINGS.

IT''S A FIGHT BETWEEN MEDIUM AND ME IT''S A DISCUSSION LIKE I WANT T TAKE YOU TO THE PERFECT STEP AND KEEP RESISTING GETTING THE SHAPE, GETTING THE FORM AND THEN YOU FIRE IT TWO TIMES WHEN IT''S COMING OUT, IT''S MONSTER.

IT''S TOTALLY DIFFERENT.

SO THE MOMENT, LIKE, HUH, TH NEGOTIATION WORKED MY YESTERDAYS IN THE SKETCHE ARE NOT FROM SPECIFIC PLACES NOT REALLY SO WHAT I DO IS GET THAT ESSENTIAL ALPHABET IN THE FORM OF ARCHITECTURE AND BRING IT T MY SCULPTURES.

WHEN I WAS WORKING ON THIS CIT SCAPE, I WAS THINKING THE BEST WAY TO CELEBRATE A NATION WITH ARCHITECTURE DIDN''T GLAZE THE NEW WORK BECAUSE IT''S LIKE AN UNFINISHED PROJECT, SKETCH OF THE DREAM O THE FUTURE CERAMIC IS VERY FRAGILE.

IT''S ABOUT FRAGILE CONDITION OF ALL OF US AS PEOPLE AS A NATION.

AS A CITY, AS A STATE.

SO EVERYTHING HAPPENED IS TH TRUTH THAT YOU TRY TO FIND BUT HOW MUCH IS CORRECT, YOU NEVER KNOW