Mohammad Piryae has depicted the ties among the surface of his paintings, drawings, printmaking, and ceramics in his recent works.
His recent printmaking and ceramic works feature an expressive and chipped texture. Islamic architecture is illustrated in these works in a lyrical, expressive and occasionally distorted way. The artworks are Giacometti -like in the terms of lines and surface, featuring chips and peeling caused on the threshold of semantics and overages. These beautiful forms both in the printmaking and the ceramic works have been mostly depicted burned polished as if they are left from a burned city. There are structures that look missed but glorious similar to the burned wooden sculptures of David Nash. There is a sense of internal and external probing in most of the artworks. Besides, the architectural decoration, the scraped tools, and the masses and the lines’ strikes are exchanged to lead to a sort of transformation. The upright position of the sculptures is another feature to be considered by Piryae by which the extension of the bars, the towers, and the buildings or the upside down domed masses elevate the visual capacities of the artworks.
As has been proved, Piryae has done researches and had artistic wisdom in every single show he has had and he has added the characteristics of his drawing, printmaking and sculpture knowledge to the viewer’s thoughts and vision through the dialectics of the conversion of the two media.