||Speaking about abstract images is as difficult as it might seem simple; particularly for paintings that are derived from an artists’ pure imagination and are formed through a timed process. Hossein Cheraghchi’s works are no exception to this rule. To talk about some of his pieces require an extensive and sophisticated vocabulary while some other works could be explained in definite terms. He has pursued an uninterrupted course in his painting and been inspired by his surroundings. In most of his earlier pieces the influence of nature is clear: compositions evoking wide horizons in open fields and colors associated with the twilight. In some cases the artist’s forms are influenced by plains and surroundings. It is interesting to note the artist’s attitude of improvisation towards such substance: Cheraghchi does not directly picture a phenomenon in his paintings, rather, in the process of creating his piece, he consistently improvises with different and diverse ramifications that he receives from the world. It is in this impromptu act that he provides a base for events that are to happen and then he controls and directs them to achieve the desired image. Perhaps not consciously, his approach in the works comes spontaneously and, the events and the effects of some elements on others, such as the relation between colors, forms and compositions are admittedly particular to his painting.
In this latest collection Cheraghchi has viewed the phenomenon with that same approach but from a closer exposure. The horizons are not as wide, the colors sit more luminously and resolutely on the canvas, the texture details are more prominent, and there is a greater variety of approach. This variety is evident in the technique and material that reveal his tendency to improvise: here every new material and technique, depending on their particular characteristic, offer novelty and freshness to the artist and, here more than before, Cheraghchi has exploited the situation. The important element of this collection is the impact of the city walls on the artist. Walls that have different textures, that are partly collapsed and ruined, whose colors are washed and transformed, or are covered with disordered lines and patterns. All these, and more, have left Cherraghchi’s abstract images with a no such thing as defined frames. The artist has, on this occasion, contemplated and dealt with walls more attentively, and in this manner this collection holds pieces where a great variety of colors sit next to canvases with almost grey lines and surfaces