Pouran Jinchi

  • Art Asia Pacific (Mar/Apr 2009)

    March 1, 2009

    Art Asia Pacific (Mar/Apr 2009)

    POURAN JINCHI Review by Gregory Galligan - MAR/APR 2009

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  • Contemporary Practices (2012)

    January 1, 2012

    Contemporary Practices (2012)

    Transcending Forms: The Calligraphic Paintings of Pouran Jinchi By Maryam Ekhtiar

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  • Caspian Arts Foundation in conversation with Pouran Jinchi

    July 6, 2012

    Caspian Arts Foundation in conversation with Pouran Jinchi

    The Caspian Arts Foundation speaks with Pouran Jinchi about her calligraphy works in their abstract form, her Ritual Imprint series and how her life experiences have made their way into her art: "a series of influences woven from the past and present that luckily sometimes align into a concept."

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  • The New York Times (Oct 2012)

    October 17, 2012

    The New York Times (Oct 2012)

    Persian Calligraphy Opens a Door to Modern Art By NINA SIEGAL

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  • Islamic Arts Magazine - The Deconstruction of Calligraphy

    September 21, 2013

    Islamic Arts Magazine - The Deconstruction of Calligraphy

    Pouran Jinchi is an Iranian-born, New York artist who borrows from her home culture's traditions of literature and calligraphy to pursue her own aesthetic explorations. Having been trained in traditional calligraphy, she finds the relation between words and forms, natural or non-objective, deeply intertwined. Pouran Jinchi is currently having her third solo show ‘The Blind Owl’ (September 18 - October 24, 2013) at The Third Line (Dubai). In this interview Pouran Jinchi shared with us her thoughts about her work and her current exhibition.

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  • The National - The Iranian artist Pouran Jinchi takes dark inspiration from the writer Sadegh Hedayat

    October 16, 2013

    The National - The Iranian artist Pouran Jinchi takes dark inspiration from the writer Sadegh Hedayat

    The solitary owl, which exists in the shadows and cares not to socialise even with its own kind, represents death in many cultures. In The Blind Owl, a novel written by Sadegh Hedayat in 1937, the symbol takes on an even darker level. When the opening line talks of the “sores in life that, like a canker, gnaw at the soul in solitude and diminish it”, it is difficult to imagine it going anywhere else. Yet, when Pouran Jinchi picked up the novel a few years ago, she decided to deconstruct it, turn it into visual art and focus on the spiritual message in the pessimistic plot, which is one of self-discovery.

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  • Art Radar - Scripts and sensibility: Iranian-American Pouran Jinchi – interview

    September 5, 2016

    Art Radar - Scripts and sensibility: Iranian-American Pouran Jinchi – interview

    Art Radar catches up with Pouran Jinchi to learn more about her latest series that examines what the artist describes as the “language of aesthetic culture of the military” and how her work employs hope in times of despair.

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  • September 2017 at The Third Line

    September 4, 2017

    September 2017 at The Third Line

    The Third Line is proud to present The Line of March, a solo exhibition by New York-based artist Pouran Jinchi. With her new body of work, Pouran returns to a fundamental preoccupation - the parallels between art and language as modes of communication - while extending her artistic expression in new directions. On view September 13 to October 21

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