Salman Khoshroo’s paintings are the fruits of years of experimentation. In part, this is because his earliest and most impressionistic portraits often struggled to portray any positive emotions. Instead, they always managed to capture—wittingly or unwittingly—something of an existential angst in their predominance of whites, blues, pinks, browns, and blacks.
Khoshroo creates large-scale figures and portraits that practically drip from the canvas. The scale on a computer or mobile screen can be quite deceiving, as most of these pieces are several feet tall, composed of enormously precise strokes that veer toward abstraction while eventually leading to a cohesive figure.
Khoshroo began experimenting with a wider range of colors and styles and is now well-practiced in Impressionism, Cubism, and Futurism. Recently, he’s eschewed the facial detail of his earlier portraits in favor of bold sweeps of primary color that nonetheless conform to the outline of a portrait.
Tehran-based artist Salman Khoshroo creates large-scale figures and portraits that practically drip from the canvas. Most of these pieces are several feet tall, composed of enormously precise strokes that veer toward abstraction while eventually leading to a cohesive figure.
Working in his studio in Tehran with a large palette knife to spread oil colors directly on the canvas, Khoshroo’s paintings harness figurative abstraction to evince very concise figures of emotional tension. Beginning with portraits of people he knew, his style evolved from one based on realism to one that draws from abstract art, expressionism and fauvism.
His interest in painting the human face is twofold, both as a conduit of human emotions, made all the more pertinent in his home country where women have to cover up the rest of their bodies; as well as an expression of identity and self-presentation in the age of Facebook.