Golestaneh Magazine

Mental Equilibrium, Innate Order In architecture, equilibrium is generally considered to be the balance between loads (weights) and stresses.
In physics, equilibrium is based on the principle of balanced forces. In biology, equilibrium is determined by the number of animals and the amount of plant production.
In the arts however, equilibrium is a visual concept and resultant of integration of factors such as weight, stress, strain and stability (the term stability has found its way into the arts from physics and engineering).
An artist perceives these phenomena through the senses.

All persons have experienced a period of instability as a child with their bodies and minds and therefore react negatively to any signs of disequilibrium, when reminded of that phase.“Symmetry” is the most simple and accessible form of equilibrium, with an intrinsic appeal, which undoubtedly results from the natural symmetry between the two sides of the body.

For sensory perception of this type of “equilibrium” in the works of Kambiz Sabri, a little effort is required on the part of the viewer.
With respect to these pieces, when features placed on two opposite sides (like echo or mirror reflection) are distinguished from one another, a marvelous sense of satisfaction is achieved by the discerning viewer. In this
group of Kambiz Sabri’s works, perhaps a kind of visual confirmation of our physical stability is conveyed to us.

But, many of Sabri’s works are designed and executed on the basis of “asymmetric equilibrium”.
In asymmetric equilibrium, a complex system of visual substitutes and balances are placed against each other, compelling the viewer to expend further mental effort for understanding the meaning of the work.

In reviewing Kambiz Sabri’s works, the role of gravity would definitely need to be taken into consideration, as the abstract elements in his works bear a kind of visual weight; meaning that the size, shape, color, color temperature and texture of such manifestations, light or heavy, opaque or transparent, suspended in space or settled on the ground become a part of our experience, but unlike us they do not necessarily continue life constrained by gravity.

In the latest three-dimensional works of Kambiz Sabri, which ingeniously hint to the human identity within the complex labyrinth of the media, color and texture exert their light and heavy effect on the scales of the viewer’s mental gaze. All in all, the works of Kambiz Sabri arouse the viewer’s curiosity in a clever fashion.
The length of time spent observing and examining the whole or part of each piece creates a kind of “mental weight” in our subconscious, the likes of which could hardly be experienced with two-dimensional artworks (graphics, photography, paintings).

For taking part in Kambiz Sabri’s creative experience, it is necessary to stand firmly on the ground and inspect the work carefully with both eyes.The hasty viewer would not properly grasp all of this visual appeal resulting from the mental equilibrium embedded in Kambiz Sabri’s artwork.
On the importance of these works, it could be added that achieving mental equilibrium requires a silent stage, which the artist experiences inside.

But when attempting to design and execute, it is not guaranteed that the mental equilibrium ensuing from within could be faithfully translated into the language of metal, wood, plastic, plexiglas… It should immediately be added that Kambiz Sabri, relying on his technical ability and skill in execution, deploys different materials exactly where required and with the flexibility and expressive power of such materials rather creatively and dexterously. In other words, Kambiz Sabri, even if he wasn’t such an inspired artist, would be able to contribute greatly as a first class technician to this nation’s sculpture.

A brilliantly creative mind and exceptional technical expertise are akin to two wings for the realization of ideas which he so effortlessly and fluently executes. But the reality is somewhat different: what is witnessed with such ease, has been achieved laboriously and through toiling with rigid and unyielding tools.

It is attention to such details which further reveals the easy and unsubmissive aspects of the artwork of Kambiz Sabri; works which have come into being through labor of the soul and by the nimble hands of this artist. All are familiar with the term “rhythm” in music, dance and poetry. But discovering the element of rhythm in Kambiz Sabri’s volumes is of a different flavor, for the “visual rhythm” or the “picture rhythm” achieved in these works is revealed in sequence and through repetition in three conceptual dimensions.

A poet, when not attaining the anticipated rhythm, could easily cross out words or edit his poetry on a separate piece of paper. But in the case of three-dimensional art, if unsuccessful in creating the element of rhythm, all the intricate technical stages of production would need to be repeated.

It is needless to say that repeating any stage in creating a 3-D object could by itself turn off the artist from the attractions of rhythm or mental equilibrium. Witnessing these poetic three-dimensional creations in small scale and on a stand is one thing, watching them on a grand scale in cityscapes another...

Writen By Ahmadreza Dalvand