A review on Bita Fayazi’s new work

For want of a nail the shoe was lost,
for want of a shoe the horse was lost,
for want of a horse the knight was lost,
for want of a knight the battle was lost,
for want of a battle the kingdom was lost.
So a kingdom was lost—all for want of a nail.
Laid as a monster at the corner of the gallery, the thing is ambitious, daring, and innovative. It has been created through a step-wise increase of complexity in repetition of a single component, and it is fearlessly approaching the idea of death, deterioration, destruction, and decadence; like many other works of the artist.
There you can feel effect of the “Chaos” theory: the artwork traces the butterfly flapping its wings in New Mexico to the hurricane in China. Yet the butterfly transforms into the nail and the hurricane becomes the horse… And could this surrealistic convergence help us find a stronger image of our unfounded world?
We all know now how intensely we are related, yet it seems now we are more into destructing the world than constructing it which has been indicated in the image of the dead horse -a malevolent archetype of losing good and blessed. And here you see a huge horse dead, upside-down, crucified, called “For want of a nail”. Could it be easy to watch Jesus Christ’s nailed body within the tremendous cycle of incarnation? As a metaphor, it might be considered as the one and only task of the modern artist: portraying the theological deterioration in aesthetic figures. And look at her mad world: huge shocking monsters are emanated from tiny invisible imperceptible points which she tries to spotlight and magnify: the nail that perished the whole kingdom…
In Venice Biennale this year, artworks which had been created based on “accumulation” and “mélange” of disparate components took a considerable part. Is there any hidden truth behind today’s artistic tendency for association and divergence rather than disassociation and convergence? Witnessing re-emergence of political fanaticism after so much of deadly wars and tensions, does the world today recognize its broken face disguised in such ripped monsters? Is that true that all we have ever done was nothing but saddling up the horse of deterioration and riding it?
There is absolutely no utopia in Bita Fayazi’s work except she herself, and her young group who set up this shocking artwork, but may the world still summon the nail and the horse to deliver the message to the battle and may the kingdoms dream what it dreams… Anyway that is all for now: walking on poisoned lands, covered with dead, and at any moment, nightmares can be taken for dreams…