To dismiss the Question, does not always mean to be frightened or incapable of confrontation.
Bringing up the matter of ‘what’ can or should be the motive of or the idea behind an artwork, often gives away the very obvious and common conception of art, or of the artistic phase one might say, which is generally chosen and publicly foreseen. Instead, by setting such questions aside, a ‘what else’ can be brought up.
Associating Arash Qelich’s paintings with any mode of exhibition, even by framing them (preoccupyed with the predestined value of art) , limits the works from being split into the tangible and uncanny quality of experience. It is soon to be felt that painting is no action due to time, necessity or profession for Qelich, rather a coping with the nature of life. Though saying this is not a big deal, it is rare to see it actually happen. The power of his work does not reside in transforming any usual moment to one magnificent masterpiece, rather they occupy the painting with ordinariness. Here, enriching the surface of the paper with a motif or picture (an enrichment which might go beyond the mere pictorial sense) is equivalent to breathing, heart beating, blood-flow, smelling, hearing, and ‘seeing’; this is how seeing and remembering stand parallel to being and surviving, then inscribing would not only be showing the life, but it will be the living itself. In this case, we can wait to see when the global and common fragmented moments of the ongoing life, as they keep their exciting nature, will pass through the hands of the painter and gain possibility again in front of our eyes.
After setting the question aside and putting any contents instead of the sole answer, again repeat the question in its first place; maybe this gained possibility might have found the answer.