This week’s cover, “Organic Abstract” by Kiamarz “Kia” Eshghi, captures the unique artistic voice that earned Eshghi his most prized exhibition, the solo Kia: Organic Abstract at the Queens Museum of Art in 2009. Here he discusses the cover painting, the eponymous series from which it originated, and moments from his illustrious six-decade career in art.
Chat with Kiamarz Eshgi
What is the name Frf featured cover artwork and what inspired its creation?
The title is “Organic Summary”. This is from a series of nine or 10 pieces I made in this technique. To me it was fresh and new – something no one had done. It’s like if you go to the gallery and see it, you’ll see that it belongs there. “Organic Abstract” is also the name of the exhibition I gave to the Queens Museum of Art (in April 2009) and they did a very good job.
“Vision #1” (featured on the cover of Dan’s Papers Issue of July 9, 2021) is also part of Organic abstract series. It goes to the heart of my work; this makes it different from others.
Could you explain more about the creation process and the technique that went into Organic abstract series?
I was very concerned years ago to come up with an idea that was different from others. Most of the things I’ve done have arisen directly on the canvas. I didn’t do any drawings or any way to show different things with different looks. I was very concerned about the color you see in the pictures.
They look like they are linked together when you see them in a large hall or a large gallery – all these works I have most often linked together. That’s another thing: that you never forget what’s going on until you just become part of that situation, part of that work of art. It was good. It was very, very well preserved (at the Queens Museum of Art).
How often do you create new paintings these days?
I probably get an idea for a piece every few months. If I get a chance to put it together, I go to my studio in the Hamptons and try to fix it. But sometimes things don’t go that way, so I can just run away with ideas until I find time to implement them.
When I start a piece, I like to rush to finish it. I have to put it out of my mind and move on to another idea. It is suggested that things be arranged in this order. In my work, it is very important for me to spend time together to finish (a painting) — three hours one day, four hours another day, or even 10 hours. Some of the time I go on and on until I finish the painting.
How has your art style evolved since Organic abstract series?
It’s been a long time. … Sometimes a (painting frame) becomes an organic abstraction as you (paint) it, and you’ll have to make some kind of assessment about the piece you’re making. Time is not an issue — meaning how long it takes me to complete the several paintings as I do them (at the same time).
What do you consider to be the greatest moment of your artistic career?
That was probably (my career) around 1986. At that time I was living and had a studio in Sands Point, Long Island.
Actually, a better time than that was (in 2009, working with) the Queens Museum of Art. That one show was way back (in my art portfolio) and I showed 12 or 13 pieces there in Queens.
Exhibiting your art in the Hamptons this summer?
I wish I could put on a show in Hampton Bays or Southampton. The last time I was at a party at Vicki Schneps’ house, I got a card (of a gallerist). … I think I will continue this and start looking for a good place to display some of the pieces.
I am very glad that (Dan’s Papers) chose the piece you chose (for the cover), and I hope people take another look at my work to see how it suits their taste.
