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The Third Apple – Yahya Dehghanpour

The Third Apple
Solo exhibition of Yahya Dehghanpour
Opening on 24 November 2017, on view until 11 December 2017

Yahya Dehghanpour has always experimented with technology and apparatus. Tools are toys for his creativity; They range from many experiments, including the pin-hole camera and the most improvised plastic tools, to throw away cardboard cameras to the most advanced cameras available. Discovery is part of his inquisitive essence. His passion for photography is endless, and no physical deterrents are of consequence. Using a simple application on the mobile phone, the Panorama option, and by movement of his hands, this new series of works has taken shape.

There is no definite photographic instance in this collection of works. There is no certainty. Time is of no importance. Possibilities are boundless and probabilities are offered. The viewer is faced with the skepticism in everything manmade and their mindset is challenged, while a new structure and perspective are offered.

One of the interesting points about the majority of works in this collection is their cadre; the vertical and stretched-out presentation of the images. Normally one strolls by and sees horizontal frames, a natural and coordinated motion of head and eyes, however in this collection the viewer is forced to view the world through the line of sight of the artist. Through motion, the camera registers a different perception of reality, here is the Artist who perceives and creates simultaneously, all in a single instance.
By creating a different perspective, the artist offers an alternative reality or perhaps cutouts of reality, and a new line of sight, all the while obscuring certainty.
The city is his element and his flânerie is of a complex nature; amid the tides of the population and within the flow of the city and in the midst of fleeting moments his unique narratives take shape.

Yahya Dehghanpour’s command of literature has played an important part in developing his oeuvre. A well-thought-out narration is a vital part of his practice. His quick wit and playfulness in combination with his critical viewpoint are evident in his works. At the same time, nothing is too serious, nothing is absolute. Once again his preoccupation with the subject matter and his determination to master and command technology come together to create infinite possibilities to view the world and to deliberate on borders of reality.