Mr. Amir H. Fallah returns to Shulamit Nazarian with a further telescopic probing of his inner life, presenting us with a more abstract geometrical biographical expression than his previous show. In his show two years prior, there was a stronger emphasis on primacy with the vividness of his colors. Now, we are entranced by a labyrinthine world of Oriental imagery juxtaposed with American mass consumerist fantastical elements. I don’t believe confusion is attempted or even perceived in this cavalcade of internal projections. But there is an appropriate level of opaqueness to the story represented within each composition.

Science is the antidote, Superstition is the Disease (2020), for instance, relates a common theme in the fine artistry of the contemporary Islamic world of moving subjects away from blind dogma toward the creativity sourced from something permanently away from the minds of mankind. And yet, there is still a gently cheekish ridicule of American exceptionalism and its own dogmatic imposition on a world-theatrical stage which is eons older than itself. We don’t see in the work, for instance, discouragement of the “dark ages” or closed-mindedness of the Orient and its savoring of tradition – and thus reluctancy to embrace technology. Indeed, the exaltation of science, it appears, leads to the rockets red glare instead of the blossoming of red roses. Perhaps then, as a work which champions science, it is one that champions knowledge in general. And that, ancient wisdom is not necessarily superstitious inheritance.

Remember my Child, Nowhere is Safe is a further challenging work which exclaims a Zarathustrian cosmic warning of the two destinies. The stark polarity of the two hands centered gives us an artful representation of betrayal. That being, a perception can be received as an extension of knowledge or as an extension of the lie, irrespective of its Belvedere. It is an exquisite work which challenges us to recognize beauty to be potentially deceptive in the wrong hands, with the emphasized wine spillage to symbolize the wastefulness capable of being caused by false intentions. Self-knowledge, then, is irrevocably true, and this inner-confidence – truly the well spring of all originality – is what the artist is cryptically celebrating. Perhaps as an aim at liberating the inner lives of others? Perhaps, then, to defeat the ultimate ignorance found in mankind.

Mr. Fallah, in final judgment, demonstrates to us in his show a virtuous extension of natural beauty and its ability to, in the words of the Tao Te Ching, blunt the sharp edges and untie the knots found in the world-historical propagation of social disunity caused by the Liar.