Artist Spotlight with Ramyar Vala

ArteEast is pleased to present an interview with artist Ramyar Vala as part of our Artist Spotlight series.

Ramyar Vala (b. 1986, Tehran, Iran) is a multidisciplinary artist and designer living and working in New York. His early practice was as a graphic designer in Tehran. Though still grounded in design and fabrication, his research tracks the functionality of crafted objects and the stories behind cultural ornamentation. Ramyar’s multi-disciplinary practice explores the inner lives and circulation of traditional motifs— tracing how they travel, transform, adjust, and disappear trans-nationally and trans-culturally — through sculpture, installation, and video. 

His work has been exhibited in a multitude of international exhibitions, including Museum of Contemporary Photography (Chicago), EXPO Chicago, and the Yerba Buena Center for the Arts (San Francisco). Most recent exhibitions include: (2017) Brown People Are the Wrens in the Parking Lot, The Logan Center Gallery, Chicago; Bread and Salt Symposium, The Shelley & Donald Rubin Foundation, New York; Front and Center, Hyde Park Art Center, Chicago; Challenges of Imagination, Lecture-Performance, Northwestern University, Chicago and Yerba Buena Center for the Arts, San Francisco; The Dangerous Professors, Triumph, Chicago; (2016) Lucciche, Simposio di VideoArte – VideoArt Symposium, Carrara, Italy; (2015) SCOPE | International Contemporary Art Show, Miami; Expo Chicago, The University of Chicago Headquarters 3.0, Chicago; Fifth Annual Exposure Award, Musee du Louvre, Paris; (2014) Lahti Poster Trienniel, Lahti Art Museum; Golden Bee 9, Moscow International Biennale of Graphic Design; and The 7th Trnava International Poster Triennial, Galéria Jána Koniarka v Trnava.

ArteEast: Can you tell us about your work in general and the main themes you return to in your practice? 

Ramyar Vala: I am a multidisciplinary designer/artist who explores various mediums, including sculptures, installations, and video. Throughout my career, I have primarily focused on working with wood and ceramic. Through my involvement in carpentry, woodworking, and interior design projects, I have developed a fascination that lies at the intersection of art and functionality. I strive to go beyond a critical perspective and actively seek solutions for the subjects I explore, aiming to address them rather than merely acknowledge their existence. 

I hold a profound interest in human invention, particularly in functional architectural components such as rugs, furniture and everyday objects and tools. These objects serve as both canvases and platforms, enabling the incorporation of artistic forms within them. I aim to create objects that possess aesthetic, cultural, and visual impact, infused with narratives and historical significance. Unfortunately, these objects are often dismissed as merely decorative when their deeper understanding is overlooked. 

AE:  Much of your work lies at the intersection of research, design, and sculpture. How did you arrive at this balance between seemingly separate fields? What is a recent example of where you merge these processes together within a project? 

RV: It all began with my fascination with rugs, which led me to study their origins, history, and the narratives embedded within them. I discovered the remarkable fusion of art and functionality in rugs, where they form a delicate and complete circle. In this unique heterotopia, you can explore how art, design, and craft come together smoothly with everyday life, forming a triangle that includes them all. When I look at rugs, I go on a journey to the past, envisioning the artistic possibilities of merging such concentrated art forms into one existence that fits perfectly with the lifestyle it represents. Once I understand this, the three elements—art, design, and craft—become inseparable, woven into every project I take on. 

Another example that reflects this merging of art, design, and craft is found in the pigeon towers of the Middle East. These remarkable buildings show how practicality can blend with artistic expression, offering a habitat for thousands of pigeons while also providing farmers with valuable fertilizer from their droppings. Inspired by this concept, I initiated my Glazed Dropping project with the intention of achieving similar objectives. I envision sculptural forms resembling columns for pigeons, using large stacked ceramic pots that would become eye-catching focal points in our community gardens. 

AE: You’ve worked in a variety of mediums such as ceramic, wood, and installation. What drew you to work with these mediums and how have their individual properties altered your approach to artmaking? How have you addressed each medium’s symbolic legacy and historic functionality within your work? 

RV: I’ve always been deeply fascinated with various crafts. There is something captivating about harnessing human skills and creativity to give form and substance to materials. With patience and dedication, one can master a new medium or object entirely, sometimes even experimenting with unconventional materials. This process of creative exploration and problem-solving holds both theoretic and pragmatic value, as it caters to personal needs. 

In my artistic journey, I’ve valued the pursuit of craftsmanship excellence. Even at a time when my practice was more geared towards painting, I believed that it was important to master realistic painting. Once I gained confidence in that medium, I challenged myself by incorporating unconventional materials like tar into my realistic paintings. Before diving into artistic production, I immersed myself in traditional crafts across different mediums. Woodworking and clay manipulation evoke the same passion inside me. These experiences serve as reminders of why and how I can break away from traditional forms of artistic expression when necessary. Woodwork demands precision and engages the mathematical aspect of my perspective, whereas clay demands adaptability, while constantly reminding that it is the clay itself that rules. Glazing, in particular, introduces an element of unpredictability and presents a therapeutic engagement. These mediums allow me to discover more about myself, uncovering my strengths, weaknesses, and tendencies. Although each medium has its own charm, being familiar with them gives me the confidence to bend, and even to break the rules I have set for myself. 

Moreover, my inclination towards construction carpentry and interior work constantly drives me to improve my skills. Spending a considerable portion of my life learning and working with these mediums has naturally directed my attention towards ideas and creations fashioned from wood and clay. Although my practice as a woodworker initially started as a way to make a living, it gradually became an integral part of my artistic practice. It took almost a year before I integrated woodworking into my fine art. On the other hand, with clay, I had a specific project in mind—the pigeon towers—which motivated me to embark on a two-year-long study before creating my first rendition. 

AE: You have delved into the history of various symbols and motifs found in carpets from West Asia and the Caucuses. What drew you to these symbols and what is your process of incorporating this research into your artmaking practice? 

RV: I usually start by exploring the so-called “decorative” patterns, like the paisley motif, as they are easily recognizable by most people. Then, I dig deeper to find similar designs and understand their shapes and connections, trying to uncover their meanings and stories. After that, I link these motifs to their historical backgrounds and incorporate them into my own work. This creates a narrative that not only respects their origins but also presents a new version through the contemporary lens from which to understand them.

AE: What or who are some of your major creative influences, and why? 

RV: Artifacts and history are my major influences. Studying the history behind what human beings have created as daily objects of survival, defense, offense or entertainment, whether constructive or deconstructive, helps me to understand the status quo. 

AE: What are you currently working on and do you have any shows or projects upcoming in 2023-2024? 

RV: As a New York-based artist, where everything is becoming expensive and where commuting to jobs and studios takes up a valuable time, I’ve started to explore ways to maximize living spaces. I envision creating innovative multi-functional furniture that can transform living conditions. For example, imagine a dining table that can seat eight people, and when the party is over, you can open it up to reveal a pottery studio inside. When it gets late and you’re too tired to clean up and commute home, you can simply close the dining table like a store and jump into bed within 30 seconds. The following day, if you feel like working on woodworking projects, there are hidden clamping jig areas where you can easily secure your tools and materials. This allows for another creative day without the stress of catching a train to a separate studio. My struggle to find an ideal place to settle down in New York City has become the driving force behind my next project, utilizing my living space as a creative influence. 

One thing that was my drive to create work was a collaboration I had with my brother Rambod, that somehow stopped in 2017 with his return to Iran. We have continued to work together with our third collaborator Afrooz Partovi, in a different way remotely up until today. Now both of them are awaiting to receive a visa to come back to the United States. The three of us run an art/design collective named Unche Studio that focuses on the intersection of art and design. I am hoping that with their arrival we will expand our shared interests in creating spatial installations including sculptural pieces and moving images.

— Interview by Lila Nazemian

RAMYAR VALA ONLINE:

Website: ramyarvala.com

Instagram: @ramyarvala 

Tags