Max Emadi recently completed an interview for “Khoolagan” a Russian art, fashion, trends and life-style magazine. The interview will be published in Russian in an upcoming edition. Here is the full text of the interview in English provided for publication on ArikiArt by Max Emadi.K.M Tell us a few things about yourself and significant dates in your life. Have you got any art education? Can you tell us something about your latest relationship with art? Is your main education in psychotherapy, and does your job as a psychotherapist help or hinder your art?
My family immigrated to the United States in 1979, the year following the overthrow of the Shah's regime in Iran. I was introduced to art while in high school. Ceramics & photography were my favorite classes. After high school I received some private instruction in sculpting from Betty Davenport Ford but was soon overwhelmed, like so many art students, by my own sense of perfectionism. The desire for "greatness" got the better of me. I stopped making art in my twenties. I was doing too much comparing with others and felt insecure about my abilities. I wanted to "know" I would be a great artist if I continued. I stopped appreciating the process for what it was.
In my twenties, my focus shifted to pursuing my education in counseling and social work... I obtained a master’s degree in social work. I now work full-time as a psychotherapist and teach part-time at a local college. I sometimes wish I had more time for art but I also enjoy the variety my life affords me and the opportunity I have to help people.
Something happened on my thirtieth birthday. It is kind of silly, but also true. I think of it as my early “midlife crisis.” I was lying in the park looking up at the sky through the trees (a recent series of "skyscraper” paintings I have been working on recently is inspired by this experience) and I simply decided to embrace my mediocrity! In that one moment, I grew up. I realized that in a world of billions of people and millions of artists, it is simply ludicrous to expect to be the best, or to even be acknowledged...
After this realization, I decided to make art again, which was my favorite thing to do in my youth. I decided to approach it this time just as "play" for leisure only. This time, I had no expectation of success or praise. I took a pottery class again (where I met my wife). A couple of years later, ten years ago exactly, I started painting in my aunt’s art studio. Painting soon became my medium of choice. I became obsessed with it and started to feel the need to do it daily. My friend, the great artist Ain Cocke, became my teacher. I began to educate myself about art history. At first, I was most interested in the American Abstract Expressionists. Their idea of action painting was very freeing to me. It gave me permission to experiment without judgment. My interest shifted through the years and so did my style.
The irony of my epiphany was that art quickly became much important than just a hobby to me. My skills improve gradually, and even my grandiose expectations have returned! Now it's too late to stop.
K.M. There are strong influences from traditional Eastern art as well as Islamic motifs and symbolism in your paintings. How do you feel your paintings and portraits line up with Islamic beliefs in terms of representing the image of living beings? Are you fundamentalist, modernist or atheist?
I used to think of myself as a painter influenced by western traditions only. I was in denial about the influence of my heritage even though I lived the first fourteen years of my life in Iran. Looking back, I realize that I had internalized some shame over my roots due to the negative American attitude towards Iranians.
When I decided to pursue the Islamic Erotica series, I noticed that the style and motifs of Persian Miniatures were coming out in the pinup art motif that I was trying to replicate. The paradoxical nature of the two cultures that influence me has been a great point of interest to me. The favorite subject of western art after the shift from Christian subjects following the Renaissance has been the female nude. In strict Muslim tradition, on the other hand, any depiction of the human form is considered idolatry and, therefore, "Haram" or against the law.
Coming from a non-practicing Muslim background, I have felt no conflict in producing figurative art. I have had to go against strict Muslim tradition to create most of my work, but I believe you have to be a "believer" to be considered a blasphemer, and I am neither.
K.M. Do you take a stand for cross-cultural dialogue and globalization, or do you criticize these movements? In your opinion, what are the reasons for modern conflicts between Western and Eastern cultures?
I don’t oppose globalization, even though it is quite popular to do so. I grieve the loss of unique local charms when I travel, but I acknowledge this to be a trivial concern. The fact is that every country wants a higher quality of living, so it is inevitable that "First World" countries will have more influence, primarily through their corporations, than other countries. Like it or not, the world is becoming one big America. To oppose globalization, in my opinion, would be ignoring reality. Homogeny is simply the direction of culture and commerce in the world. As an artist, I feel compelled to comment on the effects of globalization, and I wish the world would be more mindful of some of its consequences.
The reasons for the recently inflamed conflicts between the East and the West are, of course, complex. I don't profess to have a complete understanding of it. I suspect that, as with most historic conflicts, ideological differences are presented by the government as the cause worth fighting for in an effort to mobilize the masses. In most cases, though, the root of the conflict is actually economic & about control of resources.
K.M. Let's talk about your "Islamic Erotica" series. What emboldened you to undertake this project? How serious were your intentions to combine such incompatible things as hejab and pin up aesthetics?
The Islamic Erotica series began for me in 2003 as a reaction to the U.S. Iraq war to which I was always opposed. I found myself thinking more about my own Middle-Eastern roots as my people were classified as "evil" by Bush. I disagreed with the Bush administration and its goal of exporting American-style democracy to the Middle East by force, which was, to me, globalization at its worst. On the other hand, I am opposed to any type of fascism, whether run under the banner of a theocracy or under a tyrant with no particular ideology. So, I had mixed feelings about the whole conflict.
The Islamic Erotica series is a vision of the of the two opposing cultures coming together in what I consider a perverse, but, at the same time, humorous way. Western style sexism objectifies women. Scantily-clad or nude models have been its main vehicles. The pinup art of Varga and, later, Ramos are iconic examples. In the Muslim tradition, control and subjugation of women takes a more direct approach by limiting women’s rights through law, including the ban on exposure of the body in public, which makes some variation of the burka mandatory in Muslim theocracies.
K.M. Can you comment on the significance of these paintings? Is it protest against sexual exploitation, a search of new transcultural art forms, or just an attempt to simply shock your viewers? How have Islamic viewers reacted to these paintings?
I think of this work as continuing in the feminist tradition. I think it was just an idea whose time had come. When I started, I was just interested in showing sexual magnetism coming through even the most restrictive of clothing from the most restrictive of cultures. If you look at the first three paintings of the series you will find that the subject was just the female face or figure fully covered in the traditional way.
The series I am working on now, "Femme Fatale," is actually a return to this simple idea. I am painting close-ups of women’s faces in burkas and models in full bodied poses with no overt exposure. I want there to be an alluring beauty that comes through from these women even though they are almost completely covered in the traditional way. They will hopefully be mysterious and maybe even a little threatening (perhaps due to the historical context in which we live), but nevertheless seductive.
The idea of showing subtle sexuality in restrictive cultures later developed further. I thought it would be interesting to combine the Eastern version of sexism with the so-called "democratic" and secular western countries’ version of sexism. Great parallels could not be denied. I just found it too intriguing not to try. After the first few paintings were completed, I decided to name them after the "Playboy Bunnies" with the name of a month for each girl. As a nod (or jab) at the feminists, I called them "Ms." instead of the traditional “Miss.”
I admit that I have a perverse sense of humor and maybe some "Punk Rock” sensibility still lingers from my youth. That said, the paintings had to be done. I was driven. I feel I was just the lucky (or unlucky) person for the job.
K.M. Many Moslems interpret art in strict compliance with their religious beliefs and customs. Aren't you afraid of their negative reactions and possible retaliation?
I have a great deal of respect and reverence for the power religion holds in society. I don't really believe people are free. I think our whole reality and the choices we make are almost entirely formed by tradition and cultural norms. Religion is one of the most powerful of these forces. I feel it is our duty to regularly question and re-examine the powers that inform us and our decisions.
When I first began working on the Islamic Erotica series there was some concern from my friends and family about my safety. I considered it to be paranoia and unnecessary drama. I suppose if I hadn't had this reaction, I would not have continued working on the series. I have no desire to be a martyr for a secular cause. I think it is important to note the huge disparity between the number of people who may dislike something and the small minority who would be willing to use violence to express their dislike. Maybe I am naive.
After the Los Angeles debut of the show, when I received some press in the local papers and the reaction was almost exclusively supportive, I felt vindicated in my belief that there was nothing to worry about.
However, in the past few weeks I have grown more concerned. Since Gazeta.ru ran a story about the paintings, I have received some protest emails. Radio Free Europe was going to air an interview they conducted with me, but decided against it due to possible protest and backlash.
Every religion has its fanatics, and fanatics by definition lack a sense of humor and an open mind. I hope the majority of people who see the work don't compare it with previous controversial materials, such as the Mohammad caricatures. Mine are works of fine art. The models are not Muslim (most paintings are of my American wife posing). There is no malice, direct criticism, or disrespect of the Prophet or His teachings in this work. I certainly realize that many will not appreciate what I do, but hopefully the protest will remain in words only.
K.M. You have another series of paintings called "Terrorists and Freedom Fighters". What principles did you use to determine the characters you chose to paint for this series? For example, why did you choose to paint the Dalai Lama, Che, George W. Bush, and children wearing Islamic bandanas? In your painting of Jesus Christ titled "Before Serrano", did you consider him to be a fighter for freedom or a terrorist?
The idea behind the "Terrorists & Freedom Fighters" series was a simple one: "One man's terrorist is another man’s Freedom Fighter." I am a pacifist. Even in the case of war as self-defense, I would be very suspicious and reluctant to justify any government-sanctioned killings.
Having said that, I also feel the word "terrorist" has been used by the U.S. Administration to demonize all disenfranchised people who attempt to combat a super power. We include in our “terrorist” label the Palestinians, Iraqis, Afghans, Iranians, Somalis, Filipinos, Chechnyans, Sandinistas, etc.
Most Americans simply don't understand that if suicide bombers had decent tanks, fighter planes, and a viable military, they would use them to blow things up and cause terror in the manner regularly used by America, Russia, Israel, and China. Terrorism is the only weapon of the weak.
For my “Terrorists and Freedom Fighters” show, all paintings came with captions that included a positive and a negative quote relating to the subject of the painting. I wanted the show to present a balanced view. I also wanted to include images of some individuals who, at first, did not seem to fit the theme of violence, so I picked Jesus Christ and the Dalai Lama. But even these men who preach peace have been accused of causing death and oppression, and my captions illustrated this point of view. I was pleasantly surprised that most Americans who saw the work appreciated my critique of their world view.
K.M. In your sculpture "Good and Evil: The Game", Einstein and Mother Teresa represent Good, while Hitler and (presumably) Michael Jackson represent Evil. Don't you think that modern physics is also responsible for some of the Evil of mankind, for example, such things as the nuclear bomb? What do you think about the question of good and evil? Does Good have any chance of winning nowadays?
Your question shows that you perfectly understood my point regarding the ambiguity inherent our thoughts about good and evil! In my painting, I wanted to feature two figures who were almost universally considered "good" or "evil." I decided on Hitler & Mother Teresa. I also wanted to show two individuals who had gone through a shift in how they are viewed by the public. Einstein (more subtly, as you point out, for being the father of nuclear energy) and Michael Jackson became my symbols of uncertainty.
I see good and evil as two sides of the same coin. I don't think there is a man or woman who is entirely one or the other. I think these concepts are man-made and ultimately the universe doesn't care. Morality is a slippery slope, and the words “good” and “evil” have been used all too often to serve their masters by actually representing the opposite of what they profess. For example, consider the evil that George Bush has unleashed on the world while labeling others the "Axis of Evil."
K.M. Here’s our last question. We saw (and enjoyed!) your self-portrait in a rabbit suit. You look like a character from the last David Lynch movie. What do you think about cinema as a painter, as a source of still images?
The painting in the rabbit suit was inspired by a concert by "The Flaming Lips," who had a number of costumed dancers onstage with them the whole time. It was almost surreal. The rabbit suit self-portrait was shown as a diptych with another self-portrait, this time in a military uniform. They were part of a show called "Doppleganger" which was about duality and variations from originals. The show featured a number of pieces which were my interpretations of the works of my favorite artists. The sculpture, “Good & Evil: the Game,” was included in this show and was my take on Jasper Johns. Another piece that stood out was a sculpture of George Bush called "Sleeping Soundly," which was a variation on Rauschenberg's "The Bed". Most works can be viewed on makangallery.com or here at arikiart.com.
I am quite envious of film makers. I believe that music, photography, and film are the most vital and influential art forms in the postmodern era. Like most of my generation, I see life as if it were observed through the camera lens. Cinema and the moving picture have had a profound impact on our perception of reality. As a painter and sculptor, I feel that I am doomed to practice archaic art forms that make little impact in the world today, but, alas, I can only create what I am driven to create.
