Pouran Jinchi

Pouran Jinchi

The Line of March

September 13 - October 21, 2017

Pouran Jinchi _The Line Of March _2017_The Third Line _Installation View _2

Group Show

Summer Show 2014

June 4 - July 24, 2014

Sara Naim _Al Niente _2009_C-type Digital Print _50.8x 43.18cm

The Third Line will be closing the season with Summer Show 2014, presenting a selection of artworks by artists represented by the gallery and those who have shown at the gallery in the past. 

With a series of media ranging across photography, painting, sculpture and installations, Summer Show 2014 will be showcasing the works of Arwa Abouon, Ala Ebtekar, Ebtisam Abdulaziz, Golnaz Fathi, Hassan Hajjaj, Huda Lutfi, Laleh Khorramian, Pouran Jinchi, Rana Begum, Rhea Karam and Sara Naim.

Pouran Jinchi

The Blind Owl

September 18 - October 24, 2013

PJ_Pink -Painting -(The -Blind -Owl -Series )_2013_Ink -on -Canvas _122-x -122cm

Pouran Jinchi - The Blind Owl

Pouran Jinchi returns to The Third Line with her third solo show, The Blind Owl, continuing her investigation into deconstructing calligraphy and looking into the deeper complexities of the written word. The artist explores the physical form and its signified insinuations through the lens of the dark narratives of The Blind Owl, a major literary work by Iranian author Sadegh Hedayat. 

This publication, penned in the late 1930s, explores a grim fascination with death and for the most part was banned in Iran. It was this polemic around the book that aroused curiosity in Pouran’s youth, and has been a source of inspiration for her work. “I write only for my shadow which is cast on the wall in front of the light. I must introduce myself to it” - Pouran uses Hedayat’s quote as a point of departure for exploring various media such as intricate drawings on paper and paintings, as well as sculptures in copper and plexiglass, to deliver her experience of the confessional narrative.

In this new body of work, Pouran interprets the Iranian tradition of calligraphy and Islamic geometry through the lens of contemporary aesthetics and focuses on the weight of letters, phrases and quotes to convey her own narrative. As with previous works where she drew inspiration from seminal text works like the Quran and the Cyrus Cylinder (ancient Persian text based artifact), The Blind Owl is an example of how Pouran uses literature to inform her practice. By using abstraction and repetitive patterning, she provides a visual experience that is left to the individual interpretation of the viewer.

PROJECT SPACE - Nadia Ayari, The Fountain and The Fig

Pouran Jinchi

Ritual Imprint

January 21 – February 25, 2010

PJ_Set Of 22 Prayer Stones _Painted Earthenware _Circle 25 Cm Diameter _650

With her second solo exhibition in the region, Jinchi will exhibit a selection of new works based on the ritual of faith. This series of drawings pursues a specific artistic question: to imagine a form for prayer. The drawings are maps of faith, propelled by questions on the place of religious ritual in a secular age. 

Like the patterns and habits of everyday life, their circular motifs are the result of forms repeated over time. The drawings are in fact rubbings, made by scratching charcoal on thin paper so that it captures an imprint of the textured surface placed beneath it.

Pouran Jinchi

Fabricated

January 16 – February 14, 2008

PJ_Headgear (Louis Vuitton I)_2005_Gouache On Paper _76.2x 58.42cm _ 650

Pouran Jinchi incorporates delicately crafted paintings of patterned and branded fabrics with traditional calligraphy and Islamic geometric design to form her own unique line of post modern headgear. By focusing on the garment and labelling, Jinchi reconfigures these high end lifestyle items in an effort to articulate a personalised identity, so much so, that the wearer of these garments disappears and only the object remains. 

In this series, Jinchi examines the blending of her ancient language and the new language of commercialism where, Nike, Burberry and ancient calligraphy morph into one creating customary head gear – these gauche of paper works make comment of ethnic marketing, deconstructing notions of identity and renegotiating how these identities are formed in a globalised society.

Other works in this series feature the intricately composed patterns where ornate thread-like lines weave in and out forming a macro view of the fabric. Jinchi then creates another layer to these works by adding calligraphy based forms with their fluid and aesthetically formed design.