The works of Sahand Hesamian are primarily interactive. They are clearly derived from Islamic architecture and in so many occasions this intense relationship goes beyond the mere reflection and repetition of the forms and also influences the titles of the pieces and the brief descriptions often accompanying them. Albeit, what and who the works essentially focus on is the viewer who experiences the works in a completely different context. The work does not necessarily preach at the viewer nor narratively advise anything to him. This is a ‘structure’ that attempts to stand steady before the eyes of a sole contemporary person; such attempt is comprehended via the structure’s quality of having ‘no scale’. The sculptures and installations are merely structures whose scales–if further versions of a work was ever made–could change without leaving any damage. One feels that the size and scale could be adjusted by just pushing one part inward or pulling another outwards, applying no disturbance to the overall visual definition. They are seemingly eternal formations constantly varying between cosmic and molecular scales; forms that have been inevitably frozen in one moment to be seen and understood by one sole contemporary person. It seems as if they may break the cage of time at any instant and jump out of the tramp of the frozen moment.

The installation shown at Mohsen Gallery was way more metaphorical than all this. The little structure was this time laid on the ground in front of viewer’s body who appeared as a huge beast in comparison to the work. The geometrical shape appeared as a hole leading to a no-man’s-land. But mind needed not to fall in the imaginary and (probably) tight hollow to arrive at an entirely different place. It sufficed that the whole collection was isolated from the rest of the exhibition and placed in a small dark black room. The faint and delicate colored lights had digitally deepened that small space; the cooperation of such light and a space structured as Mandal (or Cosmography: the most essential interaction between circle and square in traditional geometry) compressed the total experience of the interactive installation into the present time. Everything seemed so subjective, very different to other works of Sahand Hesamian which usually persuade the viewer to experience the external environment under the influence of a particular structure. This was not only the matter of size of the structure adulterating the perfection mentioned in Mandal’s description, but also the sharp light beams helped it vanish from the atmosphere. Seemingly this was solely the mind that could make up the transformative perfection of the structure. This minimalism was likely to be conceived as a metaphorical reaction to the state of being caged in the moment’s capacity, a reaction to an age which swallows the past and the future at once.