Organized by Paadmaan projects / Platform 3, 2020



We live in a realm whose physical aspect we generally name “nature”. As one of the creations that possess the power of thought, humans constantly need to “observe” their surroundings and define their relations and interactions with it throughout time so as to maintain their existence. This interpretation from the nature has changed, from ancient times until the present day, for various reasons, one of which is the level of the superiority of each over the other. The concept of “change” is also linked to “matter” and its utilization in this system. With these keywords in mind and considering the issue of change from different aspects, the continuous relationship between humans and environment can be engages in a constant confrontation. Hence, striving to observe and revise the relations that can help improve the Life appears to be a necessity. Defining what a better life truly means is itself a question that can be answered throughout this process. Amin Shojaei’s current project is an example of such efforts and studies with regard to nature.

Foad Alijani, Spring 2020

Installation designed based on surface of ocean cliffs , made with 3d printed PLA panels and galvanized steel.

This exhibition, consisting of collages and arrangements of biomaterials, strives to form biological bonds between humans and their surroundings. The artist’s observations with regard to fungal and bacterial biomaterials and composite layers are exhibited with a design approach and in the form of installations. Design through alignment of surfaces and lines, from prototyping in laboratories to drawing a leaf, provide us with the opportunity to observe and draw up new applications for materials so that we can create changes in the system of consuming these materials when environmental crises arise.
Apart from representational and grotesque approaches toward environmental disasters, how else can we look at the biological layer? This biological fabric is an interwoven network which links an array of materials and thoughts; however, humans have destroyed its biological essence by dismantling parts of this mesh. How can the artist mend this torn mesh and reactivate the biological layers? In this project, the relationship between framework and surroundings and the way poetics can lead to action and interaction have been considered.

Amin Shojaei, Spring 2020

This installation is a part of show which is screened on walls and roof of the space and it can give a layer of meaning to space via sticking different parts of the space architecture together with the glue of light while the camera moves along the forest of “Kelardasht” and turns upside down, making the sense of suspension between earth and space.

Idea of this installation started with observing oceanic crust cliffs in Biarritz and how the life layers along with rocks surface creatures and vegetation such as moss, lichens and calms makes an active life layer which is in direct contact with environment and should be seen as a multilayer living ecosystem. The bed rocks of Biarritz are formed mainly from the calcareous shell remains of microscopic marine organisms such as foraminifers, or the calcareous remains from numerous types of marine algae. “Living cliffs” are those on a coast that is still active, i.e. that is being eroded and is receding. A “dead cliff”, by contrast, is only reached by very high marine waves and is therefore subjected to very little change. This living cliff was scanned and has different layers which are interacting with each other and the environment.

Oceanic cliffs were 3d scanned and printed to model a surface of cliffs in scaled size. Above left model is a smaller model for previous page installation, the printing material is PLA which is a starch based bio plastic.
A sample of oceanic stone shown in the exhibition which is origin of my idea for the oceanic cliffs surfaces.

The idea of this structure comes from the Iranian “Ab Anbar ” which is a roofed underground water cistern and its an architecture heritage of Iran. The fungal mycelium changes the structure during the exhibition while grows all along the surface of the structure and turning it white like the surface of moon. Ab Anbar was traditional drinking water reservoir from several thousand years ago and there are some myths about monsters living in this place who seduces children named “Dadamelakow”, oldest Ab Anbar was made in Ure city 2150 BC.

Bio composites made from bacterial cellulose made from different hydrocarbon resources were shown in this exhibition and this material is a substitude of animal leather and has much less co2 footprint on nature .Here the static fermentation process is shown in a closed glass box and bacterial layer is growing on top of the box during the exhibition. The bacterial used in my research is from the family of “acetobacter xyllinum” and different fruit based hydrocarbons were used with different qualities and different colors.

Different bio composites were made to experience the different qualities of fungal bio–material for different uses and reach to best formula for production of packing material, insulation and a soft material for design application.

Detail of a bio-composite art piece made from pineapple leaves.
Untitled – mix materials, natural paints, bee wax, sand on mycelium panel made from fungal bio material 65*65 cm.
Untitled – mix materials, natural paints, bee wax, sand on mycelium panel made from fungal bio material 65*65 cm.
Detail of art work with mushrooms appeared on top
Untitled – mix materials, natural paints, bee wax, sand on mycelium panel made from fungal bio material 65*65 cm.
Untitled – mix materials, natural paints, bee wax, sand on mycelium panel made from fungal bio material 65*65 cm.