نتایج جست جو "do" در سایت 100هنر

ون آمده بودند که به محلشان بروند و چون وسط روز بود اسم فیلم (مست نیم روز) گذاشته شده است . با دوربین 8 میلی متر سیاه وسفید برداشته شده Documentary# MOVIE#

ow #light #snow #landscape

olor #mandolin

n Moment این اثر در #نمایشگاه "من،زن" مجموعه فرهنگی #نیاوران، آذر ۹۷ به نمایش گذاشته شد.

و 🐂 دانلود در پیج: @amiroo_music موسیقی و کلام :امیرو کمانچه: فرشاد سوری بم کمان و پرکاشن: مصباح قمصری ضبط و میکس و مستر : مصباح قمصری @farshad.soori @mesbahghamsari 📣📣📣 گاو عاشق رو برای تک تک دوستانتون بفرستید ❤️ هنر مستقل، هنر بدون هیچ حامی مالی و اسپانسر، فقط با حمایت شما دیده و شنیده می شود. 🌹🌹 گاو عاشق رو از کانال تلگرام درج شده در پیج زیر دانلود کنید 👇👇👇 @amiroo_music #موسیقی_ایرانی #موسیقی_پاپ #پاپ_ایرانی #سه_تار #امیر_وزان #خواننده #ترانه #موزیک #گاو #یشمی #شاعر #موسیقی_مردم_پسند #موسیقی_انتزاعی طراح پوستر : @donyaghaffaree

#mountain #darband

and Welcome to World of Sleepless Nights, Restless days and Mountains of laundry. Just Remember: What doesn't break you Will make you a better person.

thin it. Displaced Realities is an exploration of the precariousness of human experience, where what appears stable is constantly on the verge of collapse. It speaks to the fragility of structures—mental, physical, societal—that we rely on to define our place in the world. The composition fractures time and perception, reflecting a deep internal dissonance where the body and mind fall out of rhythm with their environment. Here, reality is never fixed; it is fluid, unsettled, and endlessly reconfigured. The figures—often distorted, incomplete, or caught in ambiguous motion—represent the tension between presence and absence, identity and dissolution. They inhabit a space that is both familiar and alien, echoing the psychological states of displacement, dissociation, and longing for coherence. The painting captures the ceaseless transformation of the human con

painting series that explores the primal forces driving human behavior through the symbolic figure of the wolf. Blending abstract expression and dynamic figuration, the works depict wolves not as wild creatures of nature alone, but as reflections of our inner instincts—loyalty and betrayal, hunger and restraint, individuality and the collective. Each canvas captures a tense choreography—a visual "dance"—where wolves appear locked in movement: circling, confronting, collapsing, or rising. This motion embodies both the beauty and brutality of survival, the unspoken language of power, and the delicate balance between dominance and vulnerability. The series invites viewers to question: are we watching animals, or are we seeing ourselves? In a world shaped by invisible hierarchies and instinctual decisions, Dance of the Wolves becomes a mirror held up to society

etween presence and erasure. This portrait is an exploration of identity, perception, and the fragile boundaries between flesh and void. How much of ourselves do we truly see? And how much is lost in the process of becoming?

tween presence and erasure. This portrait is an exploration of identity, perception, and the fragile boundaries between flesh and void. How much of ourselves do we truly see? And how much is lost in the process of becoming?

re the fragile yet relentless tension between two opposing forces—predators and prey, dominance and submission, power and vulnerability. These works are not mere depictions of the natural order but a reflection of the structures that shape our existence—social, political, and existential. Architecture, rigid and imposing, emerges as a silent force of control, while organic, fluid figures twist and dissolve beneath it, struggling for space, for breath, for survival. The contrast between these elements reveals the unspoken rules governing our world—the quiet violence embedded in civilization, the primal instincts buried beneath constructed realities. The bodies in my paintings do not belong to individuals; they are specters of collective experience, echoes of submission and defiance. Boundaries blur—who hunts, and who is hunted? In a world designed for conques

re the fragile yet relentless tension between two opposing forces—predators and prey, dominance and submission, power and vulnerability. These works are not mere depictions of the natural order but a reflection of the structures that shape our existence—social, political, and existential. Architecture, rigid and imposing, emerges as a silent force of control, while organic, fluid figures twist and dissolve beneath it, struggling for space, for breath, for survival. The contrast between these elements reveals the unspoken rules governing our world—the quiet violence embedded in civilization, the primal instincts buried beneath constructed realities. The bodies in my paintings do not belong to individuals; they are specters of collective experience, echoes of submission and defiance. Boundaries blur—who hunts, and who is hunted? In a world designed for conques

nvas—so large, they almost consume the figure itself. These exaggerated adornments are more than accessories; they are monuments to a world obsessed with wealth and status. When luxury becomes larger than life, does identity disappear? Do we own opulence, or does it own us? As the boundaries between self and possession blur, only one question remains—what is left of us when objects lose their meaning?