The more a painter reaches abstraction in his work, the more ‘quality’ becomes more visible than ‘narration’. This quality is essentially ‘particularity’, i.e abstract painting ironically points to an individual. This does not necessarily mean being personal, and it is often falsely understood as being equivalent to uniqueness. An abstract approach, is an individual’s general narrative, purely and elaborately formed and expressed.
The viewer’s attempt to find pictorial similarities between the abstract collectives inside the work and the obvious outside, meets conclusion in two ways: either the painter, who the painting is constantly insisting on, is considered detached from his surroundings or not related to it, or is seen only as a doer or author standing along with so many other men who have passed an experience and are dealing with the aftermaths, or still experiencing the event. This second suggestion focuses, by partially revealing the recognizable items, more on local and identifiable qualities; it is the picture of an extensive need for chewing the events between the layers of mind.
Therefore, the painting, sets its viewer somewhere between himself and the others to accept ‘uncertainty’. The work of Ali Kaeini — alongside its excessive contrast of foreground and background, parallel to alluding to a jeweled crown and bringing to mind an illuminated passage shook by an earthquake and finally an overturned and abstracted emblem of funeral — confronts the viewer with the moment of uncertainly choosing between ‘what lies out there around the passages’ and ‘the flexible idea of passages’. I think this moment is the call for a rational dialogue between the outside and the inside.