Herman Lohe

United Kingdom

London

Fiumano Clase

Painting

Birch Trees

Takefumi Hori

Gold & Gold XXII

Rhine Bernardino

Photography

Territorial Pissing, The Green Way, Barrow-in-Furness, Cumbria

Territorial Pissing, Bushy Park, London

Territorial Pissing,  Roanhead Beach, Cumbria

Territorial Pissing, Kinlochleven, Scottish Highlands

Karen Tronel

Matter Over Mind

Clement Page

Mixed Media

Nothing Less than Everything

Dénes Maróti

Melpomene

Kent Karlsson

Print

Brown Nose (Trollstickan)

Lucy Smallbone

Painted following Lucy Smallbone´s residency in Lviv and study trip to Tjernobyl, Ukraine, 2017.

Green Grid

Anikó Kuikka

This editioned work forms part of the series of work compltede just before the world was struck by the pandemic. 

Sun Aikas Koittaa - Your dawn will come (Self-portrait)

Gorka Mohamed

Bellhop (El Hechizado)

Roger Holtom

Chivalry

Rebecca Kay

Lover

Sam Burford

Battleship Potemkin

Superman Rev TIme

Xuesen Liu

Porträt of Christ

Shadi Rezaei

A suite of four miniatures taken from the ancient epic poems Shahnameh, or Persian Book of the Kings introduce a further element of subversion. Rezaei has selected illustrations from specific accounts of Iran’s ancient history (at the time areas of modern day Afghanistan fell within the Persian Empire) that are relevant to the current political climate in the middle east. She has manipulated the images, both digitally and by hand, adding and removing elements thus altering the messages of the original works.

Rudaba, princess of Kabul, daughter of Mehrab Kaboli and Sindukht, is renowned for her extraordinary beauty. Zai, a legendary Iranian king from Sistan heard about Rudaba when he was passing through Kabul and fell in love with her from the description he was given: "lashes like raven's wings...the moon...her face" One of Rudaba’s maids smuggled Zai to her pavilion and Rudaba threw down her tresses for him to climb up to visit with her. He declined her offering, not wanting to hurt her, and used a rope instead.

Rezaei has covered the famed beauty of Rudaba with an Afghan burqa in the traditional blue preferred by the Taliban. We cannot see her face, nor those of her attending maids, yet Zai still shows a strong desire to scale the wall to meet her. Two Chinese soldiers stand to the side but do not engage with the protagonists of the scene. They are watching us, gauging our response to the unfolding events. Two figures expressionless and detached, irreproachable yet complicit.

Rudaba Makes a Ladder of Her Tresses for Zal,

	
A suite of four miniatures taken from the ancient epic poems Shahnameh, or Persian Book of the Kings introduce a further element of subversion. Rezaei has selected illustrations from specific accounts of Iran’s ancient history (at the time areas of modern day Afghanistan fell within the Persian Empire) that are relevant to the current political climate in the middle east. She has manipulated the images, both digitally and by hand, adding and removing elements thus altering the messages of the original works.

“Bahram Gur Hunting, Accompanied by his Slave Girls” depicts Bahram Gur slaying a lion, above him in the clouds he is watched by women in Afghan Burqas. The original miniature depicted the women in traditional dress, jubilantly dancing, singing and playing musical instruments. Rezaei has removed this joyful energy, instead we see subdued eyes and a king (symbol of power) who is oblivious to the new situation. Razaei is also rmaking a direct reference to to Ashraf Ghani (former Afghan president), who fled Afghanistan on the 15th August 2021 when Kabul fell to the Taliban, taking with him with four cars and a helicopter full of US dollars (allegedly embezzled public funds) .

To the left she has added a pink balloon floating off into the sky, symbolic of lost hope and aspirations. In recent months, with the re-capturing of Afghanistan by the Taliban, we have heard promises that women’s freedoms will be protected but sadly, as we have seen before, this is not the case, their cultural, societal and political liberties have been curtailed.

Bahram Gur Hunting, Accompanied by his Slave Girls

Please Note this is an online continuation of the physical exhibition. Appointments can be made to view works. 

Fiumano Clase is pleased to share news of the relocation of the gallery space to 40-41 Pall Mall. After many happy years in our previous space in Wren Street, Spring 2022 is the perfect opportunity for us to expand and move to a more central location. We would like to express our deep gratitude towards all of our friends, visitors, collectors and artists and we look forward to the continuation of these relationships as the art world continues again to reopen after what can only be described as a challenging time for the arts and cultural industries.

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