The line, or more precisely its serial multiplication, is the central element in Haleh Redjaian’s art. She draws lines on paper, spans lines along usually white handwoven carpets or stretches lines extending through space in front of walls and through rooms. The resulting ornaments, grids, patterns, arrangements – apparently “flawless” systems – suggest that the world can be rationally grasped.
However, Redjaian’s works undermine every rationalistic explanation. Instead, they poetically open up into the imperfect. Order and playful freedom – the drive to give form and to play – merge into a single vitality. In this context the endless and serial, but always visibly handmade, repetition of the gossamer-like individual elements represents the patient humility of their making, which demands an equally patient concentration of viewing. Viewers need time in order to first visually attune themselves to an apparent regularity and to then lose this among its errors and fragmentations, as it is replaced by a self-liberating gaze.
Haleh Redjaian’s works talk about reality differently than in categories of reality.