This new award aims to draw attention to the traditional role of independent artists, as outspoken and engaged social commentators, in the spirit of American regionalism and London Regionalism, here in Canada – for artists at all stages of their careers, irrespective of the manner or mode in which these individuals choose to communicate their message. By presenting a selection of works by short list artists, in a booth established for this purpose, the New Regionalism project hopes to foster a greater awareness among the public of the importance of free expression; which, in turn, may provide an important rationale for the support of independent art – an essential aspect of liberal democracy.

Inspired by nature in Canada, Iranian artist Azadeh Pirazimian, transmutes her story of a tragically universal experience into an evocative personal allegory. Her background in visual communications is the basis for this compelling social commentary. Azadeh's understated, yet meticulously detailed ink, drawings are trenchant commentaries. The moment one stops and looks beyond the surface of these works, a dark undercurrent becomes apparent.

Inspired by nature in Canada, Iranian artist Azadeh Pirazimian, transmutes her story of a tragically universal experience into an evocative personal allegory. Her background in visual communications is the basis for this compelling social commentary. Azadeh's understated, yet meticulously detailed ink, drawings are trenchant commentaries. The moment one stops and looks beyond the surface of these works, a dark undercurrent becomes apparent.

Azadeh uses an iconography of wildlife as a metaphor for the larger world; the mass-media and its unwitting audience, and the dangers concealed in that pervasive environment which, as Marshall McLuhan tells us, is very definitely not a 'passive wrapping'. What is the news of which Azadeh speaks? Does it matter? While the hapless birds in her image gaze off into space – perhaps mindful of their environment, perhaps only day-dreaming – sinister forces maneuvre, out of sight, beneath their feet. The outcome is clear, and seemingly inevitable; and all the more unsettling because we perceive in these works an unacknowledged truth. Azadeh's art is an important statement, not only on contemporary culture, but of the human condition.

'They Had Not Read The News'
Pigment Liner
9" x 7"  2017
Azadeh Pirazimian
See (and read) more at:
www.azadehpirazimian.com

“They Had Not Read the News”

The world of media, the mass media, news websites and thousands of other fancy names can be mentioned as the same entities which conceal the “news” from the eyes and ears. The mind “oblivious to the media”, “formed by the media” or, generally speaking, the “uninformed” mind, is the love child of the “media age”; the age which indoctrinates the “brainwashed” heads with “fake information”. “They had not read the news!” This may be the best description of a captive mind, a mind incapable of “interpreting” the news in a right way.

In the Neo-Liberal Age, the human is a consumerist being. A human concerned with consuming all the junk, even the lousiest news of the lousiest media. They may be able to see, but they are incapable of understanding. They just watch, watch and watch with the fear and caution indoctrinated by the media of the hegemonic powers. Now, it is the media which forms the culture. These days, the pop culture means the life under the shadows; a fruitless conservative culture which prescribes passivism or submission to the power, even when it comes to genocide.