Pantea Mahrou began her professional career ten years ago, delving into architecture and taking a leading role in her family’s construction company. She went on to teach at the acclaimed Azad University of Tehran. From a young age, she fell in love with ancient architecture, specifically the Archimedean era, which has inspired her study into its rich history. She remains committed to uncovering its mysteries and secrets. Using spiritual symbols, and architectural influences, her work provides energy that encapsulates the rich history of Middle Eastern culture with a contemporary perspective on life. Paying careful attention to the colors used, she provides audiences with a sense of calm and peace. On the eve of her Occhi Contemporary Art solo exhibition, titled ‘ Serenity Behind A Persian Fortress’, we caught up with her to discuss her career.
Thank you for taking the time for this interview. How and when did your interest in art and design begin?
I have been very interested in art, design, and painting ever since I was a child and I have always loved creating new works. I loved to design things for myself and experience something different, doing something new, something that no one has done before me. As a child, I loved to be creative and had a distaste for repetitive tasks, so I always tried to create something new with the tools at my disposal. Even when it comes to cooking or music, painting, and sculptures, later when I entered university, I was continuously looking for techniques that I could apply the things I had in my mind, constantly trying to mature in my craft.
You were a student of the renowned Iranian sculptor Parvis Tanavoli. Please share your experience of working with him and its impact on your practice.
Mr. Tanavolli is one of the greatest sculptors in Iran who is a source of inspiration for many young aspiring artists. He was one of the founders of a special method of sculpting in Iran and he taught these methods to his students. I am proud to have learned this method in these jewelry and sculpture courses. By participating in these classes, I found the courage to design special objects in the field of fashion jewelry design and bronze sculptures. I think the effect it had on me was that I could think freely. Now I understand that art definitely should not be complicated, and any simple concept that is rooted in the culture and history of ordinary living things can be effective and beautiful.
In addition to Tanavoli, who have been your career influences?
I have always loved learning and that is why I participated in many workshops to learn new techniques and I think anyone who can teach me something new and even give me positive energy in my work has had a great impact on the progress of my work. But one of the most important people who has influenced me is Mr. Hadi Fadavi, who in addition to teaching about excellent techniques, has also encouraged me in my work and made me believe in myself, and always gave me positive energy.
You studied architecture and took a prominent role in your family’s construction business. How far has this shaped the entrepreneurial and operational side of your practice?
Since my field was architecture, I had a lot of prior studies on the architecture of ancient Persia as well as architectural details and colors, and this affects my artworks. I think that architecture changed my view of the world. In fact, architecture influences me to pay more attention to the details and surrounding space and art. in such a field, problems and setbacks are part of the course. However, these trials and challenges help us become resistant to any hardship. This has thought me that any problems that may occur along the way can be solved with patience and resilience. In art, the same thing goes. I have often faced many challenges but, from the lessons I learned working as an architect, I have learned to never give up hope and continue on the path that I have chosen. In the end, nothing good ever comes without hard work and it is for these very valuable lessons that I have managed to keep my faith in myself and move forward. Another valuable lesson I have learned from my experiences is to plan every detail from the beginning and enter any venture with specific goals. We must always dream big and never limit ourselves to our surroundings. No matter what we do in life, I wholeheartedly believe that we need to give it our all, no matter how difficult we must set standards for ourselves and provide the highest quality of work to the clients for the best response.
What advice would you give to budding young artists starting their careers?
My recommendation to young artists is to set their own goals and walk the path they are in with passion and perseverance, to not let anyone give them negative energy and negative comments shouldn’t stop them from working. They should know that everyone has started from the same place, and the important thing is that human beings have perseverance. A clear goal and believing in themselves is the key. They should pursue their work with love and passion and surround themselves with people who give them positive energy.
You’ve exhibited widely, gaining a reputation for your unique and highly engrossing work. To date, what is your proudest achievement, and why?
It has been an honor and privilege to have been able to showcase my work internationally and to have received such amazing and wonderful feedback. It is such a precious feeling knowing that people from around the world can connect with my art and receive good energy from what I do. One of my fondest memories if I were to select from, comes from a Russian gallery that is also in Tajikistan. I was honored to have been selected as its best artist from viewers selection and all my pieces were sold out in the said gallery. I think that if an artist wants to be successful, he/she has to do their job with all their love and passion. In my work, I try to use my personal interests in my body of work. I use my own personality and symbols in my work to create unique works.
What has been your biggest challenge as an artist?
I would have to say that one of my biggest challenges has been the current political problems facing my country. Because of this, unfortunately, I had to miss some galleries and art fairs that I was invited to. I believe that this had a lot of impact on my growth as an artist and was extremely unfortunate not to be able to visit somewhere simply because of different political opinions between countries. I wholeheartedly believe that politics should be separate from art. Another one of the biggest challenges I see young artists facing is trying to stay on the course and the chosen path, to be determined, and do not allow people or even other artists’ negative opinions to deter them from their passion. I believe that we have to stay strong behind our goals and persevere through these challenges.
What methodology do you apply when researching subject matters?
My research methodology includes reading many books on the subject of my creation. I try to research as much as I can on the history and roots of my creation while at the same time making use of the common culture in the ancient era, finding symbolism and numbers that were thought to be unique and were thought to possess otherworldly powers.
I further expand my research by speaking with professors and people who are well knowledgeable in the fields of my subject.
What projects are you currently working on?
I am currently working on ancient era projects and I am still working on the symbols and astronomy and signs of goddesses related to ancient times as well as my drawings on the expansive sea of positive signs throughout history. Furthermore, I have also just begun working on a new collection in which I have tried to use new material which announces positive energy in my bronze sculpting, bringing different and unexpected elements together. I believe it will pleasantly surprise the audience of my work and which I wholeheartedly believe will be a success.
Pantea Mahrou: Serenity Behind A Persian Fortress runs from Aug 27th to Sept 24th on our sister website. For further information on visit https://www.occhicontemporary.art/ or email info@occhiarts.com
Mixed media on canvas images: Main Persian taq under sky, 2021 (185 x 100) and The Sense of Amlash Street, 2021 (180 x 160)
The House of History , 2021 (185 x 170)
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