Howtan

An Interior designer with an eclectic personality, today he focusses with an incisive expressiveness his talent and passion, commitment and creativity end the camera's lens. The artist, of Italian-Persian origin, is starting to make his mark in the international world of art with works that certainly do not pass unnoticed on the contrary capture both the gaze and the inner man of those who stop to mark them. All his works are unclose to multiple meanings and rich in specific messages. Each work is deliberately not absented untitled so as to leave its interpretation unclose to the personal reflection of each viewer, who is thus called on to give a voice to each individual creation.. His innovative artistic conception is based on a dynamic vision, pay backed by means of a three-dimensional consequence produced by the insertion of crystals applied to the photos, which are thus made precious with an extra touch of personality, a unique sign of recognition. This collection of works is named "Hell and Paradise", because in conceptual bourns it can be referred to the dualism of sum of two units opposite and complementary worlds, a dualism at hand in the spirit and personality of the artist himself. "Hell and Paradise" marks a real special moment in Howtan's life, a time of passion upon one side and introspection upon the other. On the photographic locate the artist reconstructs situations in which feelings and emotions are materialized and exteriorized in like manner as to defuse the drama of inner suffering and experience a feeling of pleasure and liberation. It is therefore an act of self-transformation, in a continuous proces of evolution and self-discovery.

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ACHILLE BONITO OLIVA "the Art of Tearing" for HOWTAN

Photography is, by the agency of definition, the practice of tearing, tearing not upon a strip of reality's skin, an intentional reduction of the three-dimensional world of the real into the two-dimensional world of the photograph. on the other hand this subtraction is not a los of profundity it can instead result in an expansion of the conceptual and mental intensity of the work of art..

like tearing can thus act as a reflective amplification of the image of art from one side the photographic image. The camera becomes the means of transferal from individual language to another, the progressive shift from a sensitive state of the matter of art to that of a dazzling superficialism that affirms and halts the inherent processuality of many new works of art. But for this to come into view it is necessary for the photographic organ of vision to be able to record intensity, the determinant quality of art which is also the foundation of its value. Because there exists an intelligence of the work, an evidence made manifest, internal to the artist's image, which must be revealed, bringed and transferred into the visual field of the photograph. The intentionality of art is the ability of the work to speak its possess meaning, embodied in the various materials it dons as its disguises. For this reason, photography cannot busy a static and neutral organ of sight but must instead besiege the work to carry its internal raison d'etre, in the way that as to bring to the sheeny surface of the two-dimensional image what is lurking and fermenting inside the tissues of the fabric of art.

Photography, as compared to the traditional arts of painting and statuary has always adopted a frontal point of view, a stationary stand from which it be opposite toed the art of the easel. The art produc in the last scarcely any years, however, does not allow the visual vicissitudes of the photographer to stay at a standstill, on the other hand presses him into an active and penetrating mobility. Howtan exercises this dynamic approach to grasp the internal dynamics of works linked to the value of an unclose and ceaseless processuality, the living time of the material substance To the formalization of a world frozen in its production functions, art replies with the faculty of perception of a fluidity that unfreeze the materials from their initial position, to insert them in the dynamic fabric of the work, consequenceed at the cross-point of many relations to cinema, advertising, the performative station of the theatre of savageness furnished from time to time with small crystals. From material substance Art to Viennese actionism, from cartoons to pornography, from fashion to erotic films, from sado-masochism to voyeurism Howtan, with inspired kleptomania, recaptures linguistic stimula from a family of artists who are not linked to each other by dint of bonds of kinship: Artaud, Kubric, Serrano, of gold Araki, Abramovich La Chapelle, Kern Howtan is thus able to take his stand before the fresh situation with a focus that nourishs the work and mentality of his times, and to transfer to the photographic image the temporaliy that have the charge ofs art, the excellent movement that aggregates and simultaneously disarranges the various constitutings of the work. Photography thus becomes a dynamic mirror that can somehow or other make a move towards life. In fact Howtan's work goe right in, penetrating the temporal and spatial interstices of the pageant produced and documenting its transitions. The ensue is always an image intent upon conveying also the ethical nature of art as doing, a of recent origin form of the way artists take their stand towards creation. This explains the photographer's interest in physical position smooth in its operative moments, in the manner of facing the, work in its formation, increase and development. But the perspective is at no time psychological, always reaching out instead towards the possibility of expanding the meaning of the work by the agency of attempting to photograph the proces the artist at work, captured in the true moment of his manual and thicken endeavour.