Huge, square and frameless paintings of Reza Onsori always guide my eyes and mind to the outside of the frame. This is caused by the viewer’s curiosity. He uses signs and references in his works. The forms suggest concepts, but do not refer to any particular concept. They are just clear to the artist himself who does not care whether or not his viewers find the works meaningful.

To the spectators, Onsori’s artworks are formalist paintings claiming ‘we are formalistic. Please see us. At the same time we are conceptual too, but don’t ask what that concept is!”

I think the weak point of Onsori’s works is ignoring the signs, references and their function.