CREATIVITY IS AN OPPORTUNITY TO EXIT.
It was from the path of drawing that I came from the realm of design to the realm of art. In design projects, in order to achieve the “problem-solving” that is necessary for design work, we must expand our vision and go beyond the subject, and this requires further understanding and discovery. It was from these cognitive efforts that a definition of drawing was gradually formed for me: “any effort to know something leads to the drawing of that thing”.
Knowledge itself is important in this definition and mediums do not have priority. That is, we should no longer limit the act of drawing to traditional drawing tools and mediums such as pencil, charcoal, and paper. Any tool available to the drawer can be used. Photography, 3D construction, text, software, typography, body and sound and other well-known or less well-known tools can all be used as a tool to better understanding the world by the drawer.
At first, I was only a designer, but I was slowly and unintentionally drawn to the world of art by drawing. But I found drawing to be so fascinating that I started to become more and more interested in it, and gradually my designs and artwork began to resemble drawings in terms of both quality and mood. I mean the quality of the drawing, the novelty resulting from the immaturity and incompleteness that is necessary for everything discovered and undeveloped. Compared to design and art, drawing has a freshness and energy, and art and design have maturity and fatigue of an end. While every design or artistic endeavor needs to have a clear goal and a plan for implementation, drawing is an ongoing, never-ending, and comprehensive attempt to learn as much as possible about a particular subject.
While I don’t like to do anything boring, design projects usually depend on repetitive and boring tasks. Drawing has been a way for me to escape from this depression and fatigue. If art and design have a home in the cooperation and style of culture, then drawing turns to instinct and liberation from lack of culture. In fact, drawing is lack of culture and design is culture. Drawing can be so instinctive and unbridled that art appears logical in comparison.
Art and design is a project and drawing is a process. This is where the main point emerges: drawing, because of its process, fills my life with freedom, comfort, and timelessness. In times of distress and despair when an inner voice whispers in my ear that “this was not the life I wanted,” I silence that voice by drawing, at least a temporary stop.
However, I also need the security and flexibility of design. Without taking refuge in the logical and stable framework of design and art, I seem to be confused by the unbearable onslaught of drawing emotions. In the raging sea, one should relax in the comfort of the boat.
I find it pleasant to travel between these two balancing realms: design and drawing.
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October 8, 2023
“figture-coined of the two terms “figure” and “picture”- is a made-up word used by Hamid Mosaddegh for revealing the essence of that group of his works that the human figure constitute their basis in an integrated manner. In these works, the figures are involved in or interacting with something or subject that leads to birth of a new concept and naked revolution that often tend towards perfection. The challenging but dynamic involvement of human with love, emotion, freedom, instinct, dream, permanence, essence, restlessness, worry and the like. The book focused on presenting the outcome of such entanglements. The name of this book results from this integration of formation of something new. “
Figture
pictures of integrated, involved and becoming figures
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Hamid Mosaddegh
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first edition 2016
Edition Nr.: 055
Pages: 106 pages
Language: English
Format: 8.27 x 5.83 inch / 14,8 x 21 cm
Features: Black & white, Paperback, Glossy Cover
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Publisher: Melville Brand Design, Germany
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“I took the photos presented in this book between 2015 and 2016 in the neighborhoods of Niavaran, Farmaniyeh and Dezashib in Tehran from the walls and various corners of these neighborhoods. At that time, I was fascinated by the passage of a fresh and pleasant breeze, by the vibration of luminous shadows, by the strangeness of the spots and the harmony of the colors, and by the unexpected transformations of the environment that would attract my attention and I would find there absolutely artistic compositions and expressions.”
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Hamid Mosaddegh:
The PASSING PHOTOS
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first edition 2023
Pages: 144 pages
Language: English & Persian
Format: 14,8 x 21 cm
Features: Full color, Paperback
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Publisher: 89books, Italy
ISBN 979-12-80423-26-9
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“Iranian graphic designer Hamid Mosaddegh is painstaking in his approach to work. But the rewards are clear to see in his sensitive and highly expressive posters.”
“Hamid Mosaddegh,
A blend of reason and passion”
Novum magazine
08.15
Hamid Mosaddegh:
Posters From Inside
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Forwards by Stephen Heller and Rene Wanner
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first edition 2021
Pages: 120 pages
Language: English & Persian
Format: 14,8 x 21 cm
Features: Full color, Hardcover
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Publisher: Maahomaa, Iran
ISBN 978-600-93528-5-2
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“Iranian graphic designer Hamid Mosaddegh is painstaking in his approach to work. But the rewards are clear to see in his sensitive and highly expressive posters.”
“Hamid Mosaddegh,
A blend of reason and passion”
Novum magazine
08.15
Hamid Mosaddegh:
Island Graphics
–
first edition 2021
Pages: 408 pages
Language: English & Persian
Format: 14,8 x 21 cm
Features: Full color, Hardcover
–
Publisher: Maahomaa, Iran
ISBN 978-600-85481-4-0
–
“
There was a time when I was both fascinated and scared of design, that is, I was drawn to the novelty of novelty, recklessness, and irrationality, and at the same time I was horrified and frightened by its slipperiness, unattainability, and uncontrollability. But since I more or less realized that any foresight is wrong and must be understood and embraced right now in this moment of life, my view of design has changed because design is especially the case with this “present” of life. .“
Hamid Mosaddegh:
The FingerArts
drawings of limited time & background (2016-2020)
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first edition 2021
Pages: 240 pages
Language: English & Persian
Format: 14,8 x 21 cm
Features: Full Black & white, Hardcover
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Publisher: Maahomaa, Iran
ISBN 978-600-8548-16-4
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“There was a time when I was both fascinated and scared of design, that is, I was drawn to the novelty of novelty, recklessness, and irrationality, and at the same time I was horrified and frightened by its slipperiness, unattainability, and uncontrollability. But since I more or less realized that any foresight is wrong and must be understood and embraced right now in this moment of life, my view of design has changed because design is especially the case with this “present” of life. .“
Hamid Mosaddegh:
Logo Design, Ways Gone
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first edition 2021
Pages: 116 pages
Language: English & Persian
Format: 14,8 x 21 cm
Features: Full Color, Hardcover
–
Publisher: Maahomaa, Iran
ISBN 978-600-85481-4-0
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Iranian graphic designer and artist with a degree in Visual Communication, Hamid Mosaddegh manages and produces a wide range of design projects in his studio in Tehran. The diversity and variety of approaches in these projects is one of the most important characteristics of his work.
His work was featured in magazines such as Novum (Germany). In recent years, in order to sum up his experiences with a retrospective look, he has published a book collection of his works by domestic and foreign publishers. A few years ago, a selection of his works focusing on the human figure was published in a book titled Figture by 100for10 Publishing House in Munich, Germany.
Today, as always, he pursues the realization of his design projects and his artistic concern with passion and enthusiasm.
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Hamid Mosaddegh,
an Iranian designer and artist, lives and works in Tehran, Iran.
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> 1992, diploma in graphic design, Visual Arts High School, Yazd.
> 1996, BA in Visual Communication, Faculty of Fine Arts, Tehran University, Tehran.
> 1998, MA in Visual Communication, Faculty of Art, Tarbiyat Modarres University, Tehran.
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No. 8, Toobaee St.,
Moosivand St., Shariati St.,
Tajrish, Shemiran, Tehran, Iran
Tel.: +98 21 22390076
& +98 21 22390076
از مسیر طراحی (دراوینگ) بود که از قلمرو دیزاین به قلمرو هنر رسیدم. در پروژههای دیزاین برای دستیابی به گرهگشایی که لازمه کار دیزاین است باید که دید خود را گسترش بدهیم و از موضوع پروژه فراتر برویم و این امر هم مستلزم شناخت بیشتر و زیروروکردن موضوع است. از دل این تلاشهای شناختی بود که کمکم تعریفی از طراحی برایم شکل گرفت: «هر گونه تلاش برای شناخت چیزی به طراحی آن چیز میانجامد».
خود امر شناخت در این تعریف اهمیت دارد و مدیومهای هنری اولویت ندارند. یعنی دیگر نباید عمل طراحی را به ابزارها و مدیومهای سنتی طراحی همچون مداد و ذغال و کاغذ محدود بکنیم. هر ابزاری که راهدست طراح باشد میتواند بهکار گرفته شود. عکسی، حجم، نوشتار، نرمافزار، تایپوگرافی، بدن و صدا و دیگر ابزارهای شناختهشده یا کمتر شناختهشده همه میتوانند همچون ابزاری برای شناخت بهتر جهان درون و بیرون توسط طراح به کار گرفته شوند.
در آغاز تنها دیزاینری بودم که کمکم و ناخواسته توسط طراحی به دنیای هنر کشانده شدم. با این حال دنیای طراحی چنان مرا شیفتهی خود کرد که کموبیش بیشتر و بیشتر به آن پرداختم و کمکم دیزاینها و کارهای هنری من بیشتر و بیشتر کیفیت و رنگوبوی طراحی را به خود گرفتند. منظورم از کیفیت طراحی، تازگی ناشی از نارسبودن و ناتمامی است که لازمه هر چیز کشفشده و ناپرورده است. در مقایسه با دیزاین و هنر، طراحیْ تازگی و انرژی یک آغاز را دارد و هنر و دیزاینْ پختگی و خستگی یک پایان را. در حالی که هر پروژهی دیزاینی یا هنری باید به پایانی مشخص و چهارچوبی واضح از برای بهرهبرداری برسد طراحی تلاشی پیاپی و بیپایان و گسترده برای هرچه بیشتر کشف و شناخت موضوعی مشخص است.
در حالیکه انجام هیچ کار کسالتباری را دوست ندارم پروژههای دیزاین معمولا به کارهای تکراری و کسالتوار وابسته است. طراحی برایم راهی بوده برای فرار از این خمودگی و خستگی. اگر هنر و دیزاین در کاردانیِ و اسلوبمندیِ فرهنگ خانه دارد طراحی به غریزگی و رهاییِ بیفرهنگی روی دارد. در واقع طراحی بیفرهنگی است و دیزاینْ فرهنگ. طراحی میتواند آنقدر غریزهوار و افسار گسیخته باشد که هنر در مقایسه با آن همچون امری منطقی پدیدار شود.
هنر و دیزاین پروژه است و طراحی پروسه. اینجاست که نکتهی اصلی پدیدار میشود: طراحی بهدلیل پروسهبودنش زندگیام را پر از رهایی و آسودگی و بیزمانی میکند. در زمانهای پریشانی و ناامیدی که صدایی درونی در گوشم نجوا میکند که «این آن زندگیای نبود که میخواستم»، این صدا را با طراحی خاموش میکنم، گیرم موقت.
بااینحال بههمان میزان، به امنیت و رخوت دیزاین هم نیاز دارم و به آن میپردازم. بدون پناهبردن به چهارچوب منطقی و استوار دیزاین و هنر انگار سرگشته میشوم از هجوم تحملناشدنی هیجانات طراحی. در دریای خروشان باید زمانی هم در آسودگی قایق آرام گرفت.
رفتوآمد بین این دو قلمرو تعادلبخش برایم دلپذیر است.
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هشتم آبان ۱۴۰۲
حمید مصدق، دیزاینر و هنرمند ایرانی، دانشآموختهی رشتهی ارتباطات تصویری است و در کارگاه خود در تهران دامنهی گستردهای از پروژههای دیزاین را طراحی و مدیریت و تولید میکند. کارهای او در نشریاتی مانند Novum (آلمان) معرفی شده است.
در چند سال اخیر، در نگاهی بازنگرانه به گذشتهی کاری و برای جمعبندی تجربهها، مجموعهکتابهایی از کارهایش توسط ناشرانی در داخل و خارج از ایران منتشر شده است یا در حال آمادهسازی برای انتشار است. چند سال پیش منتخبی از کارهای او که بر فیگور انسانی تاکید داشت در کتابی با نام Figture توسط نشر 100for10 در مونیخ (آلمان) منتشر شد.
اینروزها هم، چون گذشته، او با شوروهیجان پیگیر ساخت و بهسرانجامرساندن پروژههای دیزاینی و هنریاش است؛ پروژههایی که تنوع و گوناگونی رویکردها و ابزارها یکی از مهمترین ویژگیهایشان است.