Deborah Schamoni

Continuing her use of figuration as a means to arrive at poetic abstraction, Hoseini’s imagery defies categorization oscillating between genders, both human and animal. This refusal to define her beings within specific bodies is echoed in the format of the paintings themselves, composed of several interlocking shaped wood panels, anchored from behind and set at varying distances off the wall. Conceived of as architectural organisms, they represent a hybrid of different structures and philosophies.

The paintings exist in human scale, relating directly to our own bodies, our phenomenological experience with the artwork, and as individuals within our current and collective environment. Hoseini highlights the space between image, object, and viewer and considers ways in which we physically and psychologically adjust to the imposed limitations of architecture, investigating the questions of belonging and exclusion.

The imagery contained within these structures depict moments of chaos which occur at the intersection of hope and reality portrayed with humor and cruelty, taken out of everyday life and placed in uneven circumstances laden with psychosexual undertones. Hoseini examines and reveals dichotomies of togetherness and isolation, and interaction and hiding. Exuding a sense of fear, alienation, and vulnerability, these works ultimately broaden Hoseini’s commentary on the conditions of displacement, identity and love.

Text: Rachel Uffner Gallery, New York
Photos: Rachel Uffner Gallery, New York
Courtesy of the artist and Rachel Uffner Gallery, New York