No to exotification, no to enchantment, no to creating a new sign, and yes to Yvonne Rainer's 1965 "No" manifesto. Throughout my work, I aim to refrain from introducing new signs and instead contemplate the collective body of signs that humanity has already created. For me, the act of creating a piece of work arises from my incapability of digesting a sensation/thought/event through natural language.//
Sajad Amini works explores the profound examination of the significance found within words and their intricate connections to myths and cultures. His primary focus lies in unraveling language's pivotal role in shaping our perception and subjectivity while acknowledging its deceitful structure when it comes to meaning. Through his practice in semiotics, he challenges the absurd and occasionally contradictory nature of language and perception of identity, seeking to shed light on this complicated relationship's precarious aspects.
Nah (No),
Concrete and steel rebars, 60” x 42” x 13”, 2021
Jesus is White,
Ink on canvas, 36” x 36”, 2021.
This Is A True Story
Glass neon light and wires, 48” x 120” x 10”, 2021
Democracy Dies in Darkness,
Inkjet print on transparent film, paper clips, and nylon thread. 32” x 40” x 18”, 2018.
This is Us,
Digital photograph, 48" x 30", 2017
Good Dog,
Acrylic on canvas, 36”x49”, 2021.
Translation,
Acrylic on cardboard, 22" x 12", 2018. Letter “O” from the Futura typeface.
Contemporary, Conceptual Art,
Digital photograph, 40" x 60", 2018.
Untitled,
Paper, synthetic leather, and metal sheet, 11”x8”x8”, 2020.
Trilogy of Falling,
Vinyl and acrylic sheets. 6’ x 6’ x7’, 2021.
Evidence,
Paper, synthetic leather, fabric, wood, and metal. 36” x 120” x 36”, 2018.
The Ballot, [Yes/No].
Acrylic on canvas, 80” x 36”, 2019.
Fountain, [the most banal object.]
Digital Photograph, 50” x 36”, 2019.
Untitled, [Intentionally left blanck.]
Acrylic on canvas, 48” x 36”, 2023
Barcode,
Wood and steel wire, 20" x 21" x 45”, 2017.
Make America Great Again,
Acrylic on canvas, 36” x 72”, 2020.
