In this exhibition Namazi ties together some of the main themes he has been addressing throughout his production: minimalism, architecture, interior/exterior, waste and failure as well as social structures and Outsiderness. At the same time he extrapolates the series that have occupied him over the last few years, namely, Container, Untitled (Modules), and 1:1.

Container II is a new work in a series of disassembled garbage containers, laid flat against the floor. Namazi draws to the fore the formal elements of the container’s form and colour. The ready-made also has strong conceptual aspects concerning consumption and globalization and lies burst open in a failed attempt to contain the world.

Coming out of the 1:1 series Box is a recontectualized and formalized version of an everyday mundane object in a 1:1 scale. It focuses emphasis on the spatial aspects of its interior – a kind of anti-volume. As with the Patterns of Failure sculptures its very materialility and fragility become aspects of its formal qualities. The work lies in a state of dialog with Container II, with both works in an ongoing negotiation between their interior and exterior surfaces and their potentials to contain.

Works in the Module series are composed of a down-scaled prototype of an architectural unit. Reminiscent of Sol LeWitt’s objects, Namazi’s spatial studies are visualizations of an architectural standard, both structural and social. The skeletal rooms, industrially lacquered using the RAL colour system, address themes of architecture, minimalism, transparency and volume.Untitled (Interiors) is a suite of 7 photographs depicting an empty quotidian apartment in the dark. This photographic work relates strongly to painting: shadow, light, colour and perception. Initially the images look like formal black monochromes but after a few seconds a room appears out of the darkness. The work deals with an existential tension between seeing and blindness.

A four-panel Untitled pixel painting depicts a rubbish dump. The enamel painted pixels only reveal their motif at a distance, putting the surface of the painting in a constant negotiation between abstraction and representation. The enamel surface has the same qualities of the ready-mades in Container II and Modules – both painterly and industrial. As in Patterns of Failure, Namazi’s pixel paintings deal with issues of consumption, waste and failure.  Please contact the gallery for further information and press images